Hanna Brinkmann

Hanna Brinkmann
Danube University Krems · Department for Arts and Cultural Studies

Doctor of Philosophy

About

27
Publications
37,052
Reads
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201
Citations
Citations since 2016
25 Research Items
193 Citations
20162017201820192020202120220102030405060
20162017201820192020202120220102030405060
20162017201820192020202120220102030405060
20162017201820192020202120220102030405060
Additional affiliations
September 2020 - January 2021
Danube University Krems
Position
  • Research Associate
July 2017 - September 2020
University of Vienna
Position
  • PostDoc Position
October 2011 - December 2019
University of Vienna
Position
  • Lecturer
Description
  • WS 2011/2012 und SS 2012 STEOP-Assistant, Vermittlung von Kompetenzen in der wissenschaftlichen Beschreibung von Kunst WS 2013 Exkursion "Kunst in Wien" WS 2013 LabVisit WS 2015 Fallstudie 2/3 "Rembrandts Radierungen"
Education
October 2005 - June 2010
Ludwig-Maximilians-University of Munich
Field of study
  • Art History (main subject), Psychology (minor), Law (minor)

Publications

Publications (27)
Article
Full-text available
The concept of abstract art as “world language” became famous after documenta II (1959). Abstract art was considered as universally comprehensible and independent of cultural, political or historical contexts. However, this was never explicitly tested empirically. If these assumptions were true, there should be higher intersubjective coherence in p...
Article
Full-text available
There is increasing awareness that the perception of art is affected by the way it is presented.In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewing behavior of specific artworks both before and after the museum’s rearrangement. In contrast to pre...
Article
Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynam...
Article
Full-text available
Ein Beispiel für eine gelungene transdisziplinäre Zusammenarbeit im Bereich der hybriden Kulturvermittlung ist das Pilotprojekt "MuseumsMenschen im Schaudepot". Am Anfang stand die 2020 kollaborativ von zehn niederösterreichischen Stadtmuseen, der Universität für Weiterbildung Krems (UWK) und dem Museumsmanagement Niederösterreich erarbeitete Museu...
Chapter
Was passiert vor dem Blick auf ein Bild? Diese Frage lenkt die Aufmerksamkeit auf Voraussetzungen des Bildersehens, die in der Regel kaum reflektiert werden. Doch ist das Betrachten von Bildern stets mit Praktiken verflochten, die die Wahrnehmung in spezifischer Weise konstituieren, zurichten und mitunter sogar manipulieren. Die mit diesen Zurichtu...
Preprint
Full-text available
Embodied cognition claims that the way we move our body is central for experience. Exploring dimensions of bodily engagement should therefore also be central for understanding the experience of viewing and evaluating art. However, in both laboratory and in more ecologically-valid gallery studies, little attention has been paid to the actual ways vi...
Poster
The Krems Arts Education & Dementia Initiative (KAEDI) aims to encourage the exchange between universities, museums as well as institutions and associations for and by Persons with Dementia. www.donau-uni.ac.at/kaedi
Article
Von Bildeigenschaften auf das Sehverhalten bei der Kunstbetrachtung zu schließen, ist eine gängige kunsthistorische Praxis. Häufig wird dabei von idealen und nicht von realen Betrachtenden ausgegangen. Bestimmte Ausstellungspraktiken, Betrachtungsbedingungen, aber auch Darstellungskonventionen, generieren gewisse Seherwartungen, die auf Seherfahrun...
Chapter
Sehgewohnheiten und Blickbewegungen sind beim Kunstbetrachten essentiell und es scheint naheliegend, dass das Kunst-Sehen verschiedene Modi annehmen kann. Der Beitrag fokussiert dabei auf Annahmen zu einem kognitiven bzw. meditativen Seh-Modus. Ausgangspunkt dieser explorativen Studie sind theoretische Texte, die Aussagen zu Sehgewohnheiten beinhal...
Chapter
https://cambridgescholars.com/product/978-1-5275-4934-0
Chapter
Dieses Buch fragt weniger nach dem Was des Zeichens, als vielmehr nach dem Wann / Wo / Wie der Zeichensetzung. Was lässt eine Markierung oder Spur als Zeichen erkennen? Was sind seine ästhetischen, medialen, politischen Vorbedingungen? Welche (unterschiedlichen) Rollen spielt das Setzen von Zeichen im Alltag der Kultur und in den Künsten? Welche th...
Article
Full-text available
Eye tracking research in art viewership is often conducted in a laboratory setting where reproductions must be used in place of original art works and the viewing environment is less natural than in a museum. Recent technological developments have made museum studies possible but head-mounted eye tracking gear and interruptions by researchers still...
Article
Full-text available
The idea that simple visual elements such as colors and lines have specific, universal associations—for example red being warm—appears rather intuitive. Such associations have formed a basis for the description of artworks since the 18th century and are still fundamental to discourses on art today. Art historians might describe a painting where red...
Article
The article examines an experimental survey that was conducted by Wassily Kandinsky and his students of the wall painting workshop at the Bauhaus Weimar in 1923. In his theoretical writings on art, Kandinsky had assumed there to be direct correspondences between basic colors (yellow, red, blue) and forms (triangle, square, circle), and he operation...
Article
Full-text available
We investigate the potential for modulations in art assessment, involving either "bottom-up" artwork-derived visual features or more overt "top-down" considerations based on personal history or taste. Such changes-whereby individuals might come to relatively increase or decrease their liking of the same works of art-have been suggested in recent ar...
Presentation
When considering the dynamic gestures of an artist and the impact that such movements have on the perceiver, it is important to consider the individual differences of art observers. It has been found that the dynamics of a man-made painting impacts aesthetic ratings due to the observation of the artist’s gestures (Sbriscia-Fioretti et al., 2013) wh...
Article
Full-text available
Being interested in art and having knowledge about art are arguably central dimensions in art experience and two of the most important individual differences when assessing how people process or respond to art. Nonetheless, there is to date no reliable and validated measurement of these dimensions. In this paper, we present the Vienna Art Interest...
Conference Paper
Full-text available
Using human fixation behavior, we can interfere regions that require to be processed at high resolution and where stronger compression can be favored. Analyzing the visual scan path solely based on a predefined set of regions of interest (ROIs) limits the exploration room of the analysis. Insights can only be gained for those regions that the data...
Conference Paper
Full-text available
Pervasive mobile eye tracking provides a rich data source to investigate human natural behavior, providing a high degree of ecological validity in natural environments. However, challenges and limitations intrinsic to unconstrained mobile eye tracking makes its development and usage to some extent an art. Nonetheless, researchers are pushing the bo...
Article
Full-text available
Free Link for 50 days: https://www.sciencedirect.com/science/article/pii/S0001691817302299 The present study investigates the hypothesis that brightness of colors is associated with positivity, postulating that this is an automatic and universal effect. The Implicit Association Test (IAT; Greenwald, McGhee, & Schwartz, 1998) was used in all studie...
Article
Full-text available
Der Blick und das Sehen spielen für die Kunstgeschichte eine we-sentliche Rolle: Über bildende Kunst zu sprechen, heißt vor allem, optische Reaktionen zu beschreiben. Kunstwerke sind uns durch un-sere Sinne zugänglich, wobei dem Auge als Sehorgan eine besondere Bedeutung zukommt. Während bei Videoinstallationen auch mit Ton gearbeitet werden kann,...

Network

Cited By

Projects

Projects (6)
Archived project
In January 2018 the study "Belvedere Before" was conducted by the Lab for Cognitive Research in Art History (CReA) in cooperation with the University of Tübingen, the EVAlab and the Austrian Gallery Belvedere. The aim of the interdisciplinary team, consisting of art historians, sociologists, psychologists and computer scientists, was firstly to explore the current possibilities of mobile eye tracking for museum research. Secondly, the team took the chance of a major rearrangement of the permanent collection to find out how visitors perceive the prior constellation of artworks through the methods of mobile eye tracking, subjective mapping and questionnaire. In January 2019, the study “Belvedere After” followed in order to compare the two museum presentation contexts.
Archived project
Dissertation Project
Project
The project "Wild colors, gentle lines? Engaging with color and line in an interactive children's environment" aims to disseminate the knowledge acquired in the initial project to a very specific target group: children. We focus on science communication outside the university to encourage enthusiasm for arts and sciences. Thereby, we concentrate on the very basic elements of art: lines and colors. Together with our cooperation partner the children's museum ZOOM in Vienna, we will transfer our acquired knowledge in a selected and explanatory manner, enriched with a strong, playful aspect to create thought-provoking impulses - not only for children but also for their parents. The transfer will take place in a number of different concurrent ways: 1. verbal and visual communication within the framework of an installation in the museum's entrance area, 2. participation through rating and coloring stations; and 3. active engagement in a) themed workshops through a deeper explanation of the topic; and in b) animation workshops in a digital format. We hope that children's awareness about lines and colors and their aesthetic effects will enhance the development of significant verbal, visual, perceptual, creative and emotional skills. It is also a great way to give them a sensory vocabulary for describing the world around them. Apart from the individual benefits for ZOOM visitors, the major impact of the transfer project must be seen in an innovative science communication to a broad audience and in establishing a fruitful museum collaboration for future joint projects.