Perception Of Art Research Articles

PERFORMANCE IS A PHENOMENON OF CONTEMPORARY ART

The growing popularity of performance art makes it a striking phenomenon of international socio-cultural reality. Bright, protest form of artistic expression of the 1960s – 1970s in the late twentieth – early twentieth century. acquires the status of one of the most popular genres of contemporary art. Today, performances take place in many major museums around the world, elements of the genre are borrowed from modern mass and protest culture, and the transliterated term itself acquires new meanings and is used in different contexts. Existing and developing within the “field of art” (international institutions, the professional community, criticism, etc.), performance affects all aspects of human life without exception, and is a modern phenomenon of human life. The performance has a huge communicative potential, as it is designed to actively influence the audience or interact with the audience. It illustrates one of the trends in contemporary art: shifting the emphasis from the artist to the viewer. The high degree of significance of the recipient in the process of perception of art and increasing the role of context inevitably change the boundaries of art, having a significant impact on the relationship between art and society. This article is devoted to the consideration of philosophical views on performance, the basic principles of modern art, the characteristics of performance in everyday life, as well as analyzes the philosophical and ideological ideas underlying minimalism as a way of life.

Gaze patterns reveal aesthetic distance while viewing art.

For centuries, Western philosophers have argued that aesthetic experiences differ from common, everyday pleasing sensations, and further, that mental states, such as disinterested contemplation and aesthetic distance, underlie these complex experiences. We empirically tested whether basic perceptual processes of information intake reveal evidence for aesthetic distance, specifically toward visual art. We conducted two eye tracking experiments using appropriately matched visual stimuli (environmental scenes and representational paintings) with 59 participants using two different presentation durations (25 and 6 s). Linear mixed-effects models considering individual differences showed that affective content (pleasantness and arousal), but not stimulus composition (complexity), leads to differential effects when viewing representational paintings in comparison to environmental scenes. We demonstrate that an increase in aesthetic pleasantness induced by representational paintings during a free-viewing task leads to a slower and deeper processing mode than when viewing environmental scenes of motivational relevance, for which we observed the opposite effect. In addition, long presentation durations led to an increase in scanning behavior during visual art perception. These empirical findings inform the debate about how aesthetic experiences differ from everyday perceptual processes by showing that the notion of aesthetic distance may be better understood by examining different modes of viewing.

Mathematics Education, Western and Eastern Teaching Approaches Combined With Arts

The paper describes the experimentation results of the application in the classroom of a novel learning and teaching approach for studying mathematics. The method results from a combination of art and technology to stimulate and motivate secondary school students in mathematics often considered tedious and challenging to understand. This helped students revive the art perception displaying its hidden science base and understanding that most artists' reasoning is reducible to mathematical concepts.

Perceptions surrounding the development of personal style in Cantonese opera among artists, connoisseurs, and beginner audiences in Hong Kong

Cantonese opera is a representative opera genre from Hong Kong, given much attention and support by the territory’s government. However, current artists tend not to develop their own personal style in favor of imitating previous master performers to earn the audience’s applause. This study aims to determine the perceptions surrounding the development of personal styles of Cantonese opera performances among artists, connoisseurs, and beginner audiences in Hong Kong. We surveyed 530 artists, connoisseurs, and beginner audience members about their thoughts about the issue across six dimensions: Value, Possibility, Audience Expectation, Perception of Artists, Artist–Audience Interaction, and Environment. We used a multivariate analysis of variance process to test whether the perception of these three groups of stakeholders varied by age, sex, or educational background. Findings revealed that the artists’ and audience’s age and their knowledge and experience were critical. Older audience members tended to value personal style and creativity more than younger audience members. Younger artists tended to be more confident about developing their personal style, while older artists were generally not so eager. Therefore, early emphasis on developing personal style in both school education and professional training is vital to both audience building and nurturing creative artists.

Process and Aesthetics: An Outline of Whiteheadian Aesthetics and Beyond

Process and Aesthetics: An Outline of Whiteheadian Aesthetics and Beyond

THE VERBAL CREATIVITY OF PRESCHOOLERS AS A PEDAGOGICAL PROBLEM

The article has considered and analyzed psychological and pedagogical approaches to the problem of children’s creativity, especially children of preschool age. We have shown the views of scientists on the concept of “verbal creativity of preschool children”, which is understood as a twofold process of accumulation of impressions in the process of pedagogical activity and their creative processing into the language of verbal signs. Psychological and pedagogical principles of verbal creativity of preschool children have been revealed. The author of the article has highlighted pedagogical conditions for the development of children’s verbal creativity.The purpose of the study is to conduct a theoretical analysis of psychological and pedagogical research on the problem of verbal creativity of preschool children and to identify pedagogical conditions for its development. Research methods – theoretical analysis of the literature on psychology, pedagogy, comparison and classification of materials on the research problem, method of theoretical constructions.Based on theoretical analysis, it has been established that for active and successful participation of preschool children in verbal creativity children have to require a psychological platform in the form of developed imagination, creative thinking, figurative perception, speech in all its aspects. The structure of the process of development of verbal creativity in preschool childhood includes three stages: preparatory (accumulation of experience), the actual process of verbal creativity and the final (analysis of the results).The implementation of pedagogical conditions for the development of verbal creativity of preschoolers requires more careful consideration of the problem of preparing a specialist for the development of verbal creativity of children, which we have seen as prospects for further research.
 Keywords: creativity; children’s creativity; verbal creativity; speech development; artistic perception; poetic hearing; preschooler; conditions for the development of verbal creativity.

Neural Phenomenon in Musicality: The Interpretation of Dual-Processing Modes in Melodic Perception.

The confluence of creativity in music performance finds itself in performance practices and cultural motifs, the communication of the human body along with the instrument it interacts with, and individual performers’ perceptual, motor, and cognitive abilities that contribute to varied musical interpretations of the same piece or melodic line. The musical and artistic execution of a player, as well as the product of this phenomena can become determinant causes in a creative mental state. With advances in neurocognitive measures, the state of one’s artistic intuition and execution has been a growing interest in understanding the creative thought process of human behavior, particularly in improvising artists. This article discusses the implementation on the concurrence of spontaneous (Type-1) and controlled (Type-2) processing modes that may be apparent in the perception of non-improvising artists on how melodic lines are perceived in music performance. Elucidating the cortical-subcortical activity in the dual-process model may extend to non-improvising musicians explored in the paradigm of neural correlates. These interactions may open new possibilities for expanding the repertoire of executive functions, creativity, and the coordinated activity of cortical-subcortical regions that regulate the free flow of artistic ideas and expressive spontaneity in future neuromusical research.

Semiotics of the Train in Russian Literature: Intermedial and Metapoetical Aspects

This article explores the intermedial and metapoetical semantics of the artistic image of a train. This image is part of the artistic semiotics and plays two interrelated roles: it marks the connection between the discourses of cinema and literature and signifies the act of artistic creation. Based on the Russian literature of the ХХ–ХХI century, this article reviews the origins and development of the arrival of a train as a cinematic metaphor, as well as the ways of depicting images in time and space (including the inner space). Before the age of cinema, the classic Russian literature introduced the railroad motif to make the discourse more dynamic and to highlight the key opposition between traditional lifestyle and technological progress, e.g. in works by F. Ostrovsky, A. Chekhov, etc. The literature of the XX century merged cinematic devices with literary motifs and introduced fragmentation, editing, changing angles, and other new ways of artistic perception, e.g. in A. Platonov’s oeuvre. Train imagery may attain mythological semantics when it manifests the themes of disaster, death, Apocalypse, and revolution, thus becoming a metapoetical symbol, e.g. in B. Pasternak’s Doctor Zhivago. In the contemporary Russian literature, train movement is associated with the life of human consciousness (V. Pelevin) or with text generation (S. Sokolov). In some cases, episodes of rail traffic interspersed with episodes of filming complicate the narrative and multiply transitions from external to internal focalization (E. Vodolazkin).

4. Object and Objecthood in Post-Minimal Sculpture

AbstractIn this material, we analyse the way in which a paradigmatic period for the evolution of art and sculpture as we see it today, the years 1960-1970, shaped the contemporary perception of the visual arts, in terms of reconnecting a spiritual approach and the art manifestation and perceptibility. The theme allows a radiographic introspection into the visual expressions, the diversity of materials, techniques, artistic and aesthetic solutions. The main goal is to facilitate the understanding of the mechanisms that led to nowadays perceptions of art (and of sculpture, as the main vehicle of operating with objectual and space). As most of the minimalist and post-minimalist sculpture orientations can be analysed though the perspective of various prominent artists or researchers such as Donald Judd and Hal Foster, we also assist to major shifts in institutionalizing anti-aesthetic or less-traditional art movements.

Titles and Semantic Violations Affect Eye Movements When Viewing Contemporary Paintings

The role of titles in perception of visual art is a topic of interesting discussions that brings together artists, curators, and researchers. Titles provide contextual cues and guide perception. They can be particularly useful when paintings include semantic violations that make them challenging for viewers, especially viewers lacking expert knowledge. The aim of this study is to investigate the effects of titles and semantic violations on eye movements. A total of 127 participants without expertise in visual art viewed 40 paintings with and without semantic violations (20 each) in one of three conditions: untitled, consistent titles and inconsistent titles. After each painting was viewed participants also rated liking and understanding. Our results suggest that titles affect the way paintings are viewed: both titled conditions were associated with shorter first fixation duration, longer saccade durations, and amplitudes and higher dynamic entropy than the untitled conditions. Titles were fixated on more frequently (but only in the time window between 1,200 and 2,800 ms) when presented alongside paintings with semantic violations than paintings without violations, and the percentage of fixations to titles was particularly high in the case of paintings with double inconsistencies (inconsistent titles and semantic violations). Also, we found that semantic violations attracted attention early on (300–900 ms), whereas titles received attention later (average first fixation on title was at 936.28 ms) and inconsistencies in titles were processed even later (after 4,000 ms). Finally, semantic violations were associated with higher dynamic entropy than paintings without violations. Our results demonstrate the importance of titles for processing of artworks, especially artworks that present a challenge for the viewers.

Сергей Есенин и Райнер Мария Рильке: опыт сравнительно-типологического исследования художественных систем

The article presents the comparative-typological analysis of the artistic systems of Sergei Yesenin and Rainer Maria Rilke. The author considers the motif and image parallels, states and proves the hypothesis that the creative search of the poets is typologically correlated in a number of artistic parameters, including the nature of the lyrical character, the specificity of the metaphorical imagery, pantheistic sense of nature, confessionalism, the specific character of lyrical reflection. The poetic world view in the lyrics of Yesenin and Rilke is largely based on the model of the world as a temple. The similarity between the lyrists can be also seen in the principles of their artistic thinking. The assertion of universal connection of natural phenomena is based on the “philosophy of omniscience”, on the idea of the interreversibility of the world-tree and man-tree, macrocosm and microcosm. The spiritual and aesthetic closeness of the two poets at certain stages of their creative development is motivated by the conceptual significance of the “Russian experience” in Rilke’s artistic world perception and work. The poets were close to each other in their artistic search as they met the objective aesthetic needs of the verbal world art in the formation of a new poetic language, in strengthening the role of expressive metaphor, in the return to myth on the basis of its individual-author rethinking, in finding the lost unity of man with the natural space and its divine originality.

What Do You Mean When You Say You Like This Painting? Oculomotor Indices of Processes Involved in Aesthetical Appreciation

This study aims to verify the hypotheses concerning emotional and cognitive predictors of aesthetic judgments, operationalized by instructions for viewing paintings from different perspectives (emotions and feelings, empathy, the captured moment, important elements, title, and mystery). Two eye movement parameters: fixation duration average and scan path length, estimated based on data recorded during viewing paintings, were analyzed. The extent to which the parameters of eye movement while performing different instructions predict the same parameters during the aesthetic assessment task was investigated. It was assumed that similar parameters of eye movements are indicators of similar mental processes, activated under different instructions. The viewing time window and expertise of participants were independent variables. Data were analyzed by multilevel modeling. The results showed that at the early stage of viewing a painting, instructions that activate emotional processing (regardless of expertise), better predict the aesthetic evaluation of a painting than instructions activating cognitive processes. At this stage, it was also found that the eye movement parameters, during the performance of instructions that activate cognitive processing, better predict the aesthetic evaluation of paintings only in the group trained in visual arts. At the later stage of viewing paintings, instructions activating cognitive processes turned out to be more reliable predictors of eye movement parameters during the aesthetic evaluation task than instructions activating emotional processes in both groups of participants. The results of the experiment were confronted with the existing models of perception of art and aesthetic experience.

More Than Meets the Eye: Art Engages the Social Brain.

Here we present the viewpoint that art essentially engages the social brain, by demonstrating how art processing maps onto the social brain connectome—the most comprehensive diagram of the neural dynamics that regulate human social cognition to date. We start with a brief history of the rise of neuroaesthetics as the scientific study of art perception and appreciation, in relation to developments in contemporary art practice and theory during the same period. Building further on a growing awareness of the importance of social context in art production and appreciation, we then set out how art engages the social brain and outline candidate components of the “artistic brain connectome.” We explain how our functional model for art as a social brain phenomenon may operate when engaging with artworks. We call for closer collaborations between the burgeoning field of neuroaesthetics and arts professionals, cultural institutions and diverse audiences in order to fully delineate and contextualize this model. Complementary to the unquestionable value of art for art’s sake, we argue that its neural grounding in the social brain raises important practical implications for mental health, and the care of people living with dementia and other neurological conditions.

The Legacy of Willem Beurs ‒ Bridging the Gap between Art and Material Perception

Abstract Dutch Golden Age painters could convincingly depict all sorts of materials. How did they do it and how do we perceive them as such, are questions that only recently have started to be addressed by art historians and vision scientists, respectively. This paper aims to discuss how a booklet of pictorial recipes written by the Dutch painter Willem Beurs in 1692 constitutes an index of key image features for material depiction and perception. Beurs’ recipes connect different materials according to their shared visual features, and offer the profiles, i.e., the optimal combinations, of these features to render a wide range of materials. By combining representation and perception, the knowledge of painters about the depiction of materials can help to understand the mechanisms of the visual system for material perception, and these in turn can explain the pictorial features that make the pictorial representation of materials so convincing.

The perception of vocal aesthetics in digital art

The active use of new digital technologies in the art of music is becoming the basis of a new aesthetic perception. The possibilities of digital technology to transform the voices of performers make it relevant to consider the role of vocal aesthetics in digital music art. This study aims to investigate the features of vocal aesthetics perception in digital art. The perception of musical works as pleasant or unpleasant correlates with the psycho-emotional state of the listener; thus, to study the psycho-emotional impact of synthesized vocal without instrumental accompaniment, the authors used Kunin projective physiognomic test (1977), the WAM (Well-being, Activity, Mood) technique (1973), and the Wessman-Ricks self-assessment of mental state technique (2004). The study involved 182 students and teachers of Music College, Ningbo University, China. The study of the psycho-emotional state of respondents before and after listening to synthesized vocal compositions allowed the authors to indirectly evaluate the aesthetic perception of digital music art. After listening to the vocal digital fragment, which included both major and minor fragments of different tempo and rhythm, the overall mood in the group of respondents significantly improved: good mood was detected in 26.9% of cases, and very good - in 11.5%. The positive impact of listening to a vocal digital song on the well-being, activity, and mood of the respondents correlates with its positive aesthetic impact. The research confirms that aesthetic properties are directly dependent on the listener's point of view, aesthetic experience is a matter of value and emotion, and aesthetic feeling arises as a result of an unconscious process and is associated with the normalizing effect of digital vocal composition on the psycho-emotional state of the respondents.

Reimagining Imagia. Neurocognitive Theory of Image Revisited With the Consciousness Studies Perspective

Imagia. Towards a neurocognitive theory of image (Francuz, 2013) defines art perception as a synthesis between acts of perception and visual imagination limited by attentional constraints. The majority of empirical evidence the author referred to in the book focuses on visual processing, attention, and aesthetic judgements. Nevertheless, other mechanisms involved in the subjective experience formation undoubtedly also plays a role in the perception of art. Thus, it seems worth complementing the fundaments of the neurocognitive theory of image with consciousness literature. The research in this domain often reminds us that we see much more than is presented. Our conscious perception is modified, extended, and enriched due to multiple mechanisms, such as prediction, integration, or learning. Here, I review selected examples of work from the consciousness literature to illustrate this claim. Furthermore, I discuss this work in the context of art perception. Finally, I reconstruct the model proposed by Francuz and offer its extension that accounts for the aspects covered by the original work and those addressed in this paper.

Investigating Preschoolers’ Perception of Artists: Drawing an Artist

AbstractThis study aimed to examine preschoolers’ perceptions of the concept of artist. The participants are 10 preschoolers aged 5–6. This study is a phenomenological qualitative research study. First, a short conversation was held with the children about the concept of artist. Then, the children were asked to draw an artist and explain their drawings. Descriptive analysis was used to analyse and interpret children’s pictures and responses. The study revealed that the children mostly drew artists in the field of painting. It was also found that most of the children had a tendency to draw artists representing their own gender, and they mostly drew paints and palettes to depict the materials used by artists. It is recommended to introduce less‐known / well‐known artists, who are interested in art branches other than painting, from local and foreign cultures, considering the age and developmental characteristics of children, within the scope of art activities held in preschool education institutions. In order for children to understand that there are many other branches of art besides painting and that there are many different artists beside painters, teachers may plan different activities such as three‐dimensional modelling, photography and graphics within the scope of preschool art activities.

The Image of the Homeland in the Lyrics of the Poet of Northeastern China Mu Mutian (Based on the Poems from the Collection Drifting Heart)

The relevance of the study is determined by the interest of modern humanities in the processes of the formation of ethnic and national consciousness in China in the first half of the 20th century, which determine the images of perception of a foreign culture and self-perception. The novelty lies in the appeal to the half-forgotten work by Mu Mutian, practically unknown to the Russian-speaking reader. The problem lies in the definition of the connotative meanings of the image of the homeland in the works by Mu Mutian, reflecting the fusion of archetypal ethnic ideas and new attitudes of national consciousness. Research methodology is based on the lexical and semantic analysis of the poet’s literary texts, which represent different connotations of the image of the homeland. The research methods we applied involved biographical, cultural-historical and structural-semantic ones. The authors also turned to the comparative analysis of the translation and the original of the poems studied. The authors came to the conclusion that the image of the homeland in the poems included in the collection Drifting Heart by Mu Mutian is often manifested allegorically. The name Drifting Heart fully reflects not only the emotional state of the emigre poet during the period of writing poems but also the processes of the formation of the basic frames of the national consciousness of the Chinese after the Xinhai Revolution during the civil war. Despite the fact that Mu Mutian’s artistic perception of the world during the period of exile is closely connected with the Japanese aesthetic principle of mononoaware, aestheticizing sadness, and is also inseparable from the symbolist craving for “decline”, the poet fuses the “Chinese” vision of these principles and projects them onto ideas about his native places, the homeland of his ancestors under the rule of Japan, declares faith in the revival of China as a single state.

Природа и генезис философской поэзии

Research relevance: philosophical poetry expands the level of not only the poet, but also the reader, enriches his inner world, and teaches him to short, clear, figurative speech, showing the power of verbal art. Research purpose: is to consider the features of philosophical poetry, the relationship between philosophy and philosophical poetry. Philosophical poetry focuses on the philosophical meaning of being, man and the philosophical views of the lyrical character. Research methods and materials: attempts are being made to study worldview orientations and philosophical problems on the basis of their artistic heritage. The article also characterizes the nature and basis of philosophical poetry. Philosophical anthropological concepts, views and ideas of poets are studied. The article deals with the difference from philosophy, philosophical lyricism expresses the poet's artistic perception of the poetic world. Research results: direct contact between the author and the reader, as an old friend who shares good and evil, joy and sadness with him, creates a close and trusting atmosphere between them. Conclusions: Despite this universality, philosophical lyricism reflects the fundamental features and national worldview.

О критериях современного искусства: культурологический подход

XX century introduced significant adjustments in the understanding of art. Art lost its special “aura” (V. Benjamin) with the development of visual practices, the growing role of science and the recipient in the design of artistic reality, which led to a change in the notion of the criteria of art up to the denial of its existence. The scientific novelty is determined by the change in the status of art in modern culture. The changes that took place in the art of the 19th century expanded the range of artistic value by recognizing new values and involving the figure of the recipient in the process of creating art. The acceleration of the development of culture in the 20th century led to a further change in the perception of art, which began to rely more on a rethinking of a tradition that had been enriched by the discovery of previously little-known cultures. In this regard, the criteria of art, representing the artwork as a cultural text aimed at understanding the experience of previous cultural eras, are changed. Purpose of the study describe the changes in the role of art in human life, which were reflected primarily in the rethinking of art criteria. In the twentieth century, there is a large number of contradictory phenomena called to be called culture and going beyond the framework of art, which requires their mastering. Visual mass culture, which does not have the signs of a new one, has trained the viewer to pay attention to the already realized reality, presented in a new shell from a different angle. Herewith the recipient ascribes traditional values and meanings to the mastered reality. Thus, the replicability and reproducibility of works of art change the person's idea of the subject of art. Methods: The analysis of art, through the lens of its criteria, took a cultural approach, which allowed to consider art in the context of the cultural text. To represent the specificities of contemporary art, descriptive and comparative methods were used to fit contemporary art into the cultural context and to identify its main criteria. The concepts of “art” and “culture” become largely synonymous in the consciousness of modern man. Peculiarities of the perception of a work of art are associated with the fusion of the concepts “work of art” and “cultural text”, when culture began to substitute for itself art, so people in the assessments of art are guided by the same concepts that apply to culture. Recognition of the conscious, as the main criterion of the art of mass consciousness, translates the work of art into the rank of a cultural text, for which other values and aesthetic criteria already act. We can draw a conclusion on the basis of the perception of the cultural text, that the toolkit for evaluating the cultural text passes to art, and therefore the main criteria are not the aesthetic, but the anthropological, associated with the creative activity of the recipient and his participation in the creation of a work of art.