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The Perception and Evaluation of Visual Art
Abstract and Figures
Visual art is a complex stimulus. Drawing on extant theory that the interplay of affect and cognition evoked by a stimulus drives evaluations, we develop a generalizable model for the perception and evaluation of visual art. In three stages, we develop scaled measurements for the affective and cognitive components involved in the perception of visual art and present a structural equation model that integrates these components in art evaluation.
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... As an important means to communicate information and emotions of humans, visual art (e.g., painting and photography) is prevalent in our daily life and can now be created by AI (e.g., DALL·E 2 [55]). Although visual art evokes an emotional response, it remains difficult to understand the mechanism of the viewers' emotional response to an artwork [27,70]. The subjective evaluation of an artwork depends on the artwork's form and expressions, the audience's understanding of the content and meanings, the audience's life experience related to the artworks' expression, and the audience's active attempt to process the stimulus [53]. ...
... Psychologists have developed numerous instruments to evaluate the emotional expression in visual arts through audience's perception and reaction. Hagtvedt et al. developed a Likert scale questionnaire to measure the affective and cognitive components involved in the perception of visual art [27]. Likewise, Schindler et al. developed the Aesthetic Emotions Scale, which contains 21 subscales to assess the emotional signature of responses to artworks and emphasizing the perceived aesthetic appeal [70]. ...
Generative AI models have shown impressive ability to produce images with text prompts, which could benefit creativity in visual art creation and self-expression. However, it is unclear how precisely the generated images express contexts and emotions from the input texts. We explored the emotional expressiveness of AI-generated images and developed RePrompt, an automatic method to refine text prompts toward precise expression of the generated images. Inspired by crowdsourced editing strategies, we curated intuitive text features, such as the number and concreteness of nouns, and trained a proxy model to analyze the feature effects on the AI-generated image. With model explanations of the proxy model, we curated a rubric to adjust text prompts to optimize image generation for precise emotion expression. We conducted simulation and user studies, which showed that RePrompt significantly improves the emotional expressiveness of AI-generated images, especially for negative emotions.
... For example, M. S. Sohail analyzes the country-of-origin effect of products made in China through Malaysian consumers' evaluation of specific product dimensions [1]; Förster J. studied how physical feedback affected consumers' evaluation of products [2]. In addition, some scholars used the SD method to analyze consumers' acceptance of art products based on consumers' psychological needs and personal taste [3][4][5][6]. At the same time, some scholars conducted relevant research by using experimental methods, such as eye movement technology and convolutional neural network [7], but the research technology and results are still in a relatively preliminary stage, and only the introduction of experimental methods, and few results can be used in practice. ...
... Within the analysis of static images, art has been a field for experimentation and analysis regarding emotions. Thus, some studies have used abstract art (Chiarella et al., 2022;Sartori et al., 2015;Yanulevskaya et al., 2012;Zhang et al., 2011;Zhao et al., 2014), art styles including Oriental art (Hung, 2018), cubist art (Ginosar, Haas, Brown, & Malik, 2014), figurative art (Hagtvedt, Patrick, & Hagtvedt, 2008;Huang, Huang, & Kuo, 2010), or artworks from various cultures (Stamatopoulou & Cupchik, 2017), among others. Similarly, in this field, experiments have been done combining different resources apart from image analysis, such as using the title of the work or the author (Chamberlain, Mullin, Scheerlinck, & Wagemans, 2018;Chiarella et al., 2022;Huang, Bridge, Kemp, & Parker, 2011;Sartori et al., 2015;Tashu, Hajiyeva, & Horvath, 2021) to better define emotion. ...
This research is framed within the study of automatic recognition of emotions in artworks, proposing a methodology to improve performance in detecting emotions when a network is trained with an image type different from the entry type, which is known as the cross-depiction problem. To achieve this, we used the QuickShift algorithm, which simplifies images’ resources, and applied it to the Open Affective Standardized Image (OASIS) dataset as well as the WikiArt Emotion dataset. Both datasets are also unified under a binary emotional system. Subsequently, a model was trained based on a convolutional neural network using OASIS as a learning base, in order to then be applied on the WikiArt Emotion dataset. The results show an improvement in the general prediction performance when applying QuickShift (73% overall). However, we can observe that artistic style influences the results, with minimalist art being incompatible with the methodology proposed.
... Проблема анализа особенностей восприятия визуальных объектов, в том числе архитектурной среды, активно изучалась в психологической науке (Арнхейм, 1974;Барабанщиков, 2006;Габидулина, 2012;Гильдебранд, 1991;Розин, 2006;Назаров, Папантиму, 2016;Hagtvedt et al., 2008;Wang, Zhou, 2019). Например, в исследовании М.-К. ...
Статья посвящена изучению взаимосвязей индивидуальных ценностей респондентов с психосемантической оценкой визуального образа (на примере фотоизображения архитектурных изразцов Московского Кремля). В исследовании мы опирались на теорию ценностей Ш. Шварца (Schwartz, 1992), психосемантический подход (Артемьева, 1999) и социальнопсихологический подход к восприятию архитектурных объектов (Вырва, Леонтьев, 2015). Выборка составила 415 респондентов. Были применены опросник индивидуальных ценностей PVQ-R (Шварц и др., 2012) и авторский биполярный семантический дифференциал (на основе методик личностного семантического дифференциала Ч. Осгуда, Дж. Суси, П. Тан - ненбаума и архитектурного семантического дифференциала С.Э. Габидулиной (Осгуд и др., 1972; Габидулина, 2012). Результаты обрабатывались с помощью эксплораторного факторного и регрессионного анализов. Полученные данные показали, что фотоизображение изразца оценивается в позитивном ключе практически по всем шкалам семантического дифференциала. Выявлена пятифакторная психосемантическая структура образа изразца. Наибольший вес имеет фактор «Сильный», далее идут факторы «Неком - форт ный», «Пассивный», «Дружелюб ный», «Из вест ный». Обнаружены взаимосвязи индивидуальных ценностей респондентов с психосемантической оценкой фотоизображения изразца: ценности «Открытости изменениям» взаимосвязаны с восприятием изображения как «сильного» и «дружелюбного»; ценности «Сохранения» способствуют оценке фотоизображения на изразце как «сильного», «дружелюбного», «известного», но в то же время «пассивного»; ценности «Са мо - преодоления» положительно взаимосвязаны с восприятием изображения на изразце как «дружелюбного» и отрицательно — с восприятием его как «некомфортного». Взаи мо связей ценностей «Самоут верж де ния» с психосемантической оценкой изображения из разца не обнаружено. Новизна данной работы состоит в том, что впервые исследована психосемантическая оценка изображения архитектурных изразцов средневекового храма, являющихся феноменом традиционной русской культуры, а также выявлена роль в этом процессе индивидуальных ценностей респондентов. Полу - ченные результаты могут быть использованы в экскурсионно-туристической, образовательно-развивающей и духовно-просветительской деятельности, в урбанистике и планировании комфортных городских пространств, в художественном творчестве.
... Maryland State Department of Education (2012) define visual arts as all forms of creative and expressive production in material and media resulting in architecture, painting, sculpture, photography, craft, ceramics, printing, and applied design. Hagtvedt, H., Hagtvedt, R. and Patrick (2008) noted that visual arts are complex stimuli that provoke emotions. McCarthy, Ondaatje, Brooks and Szántó (2005) classified visual arts into embedded art such as design work embedded, and collectibles and crafts such as photography, painting, and sculpture. ...
p>Over the years, Nigeria and indeed world leaders have been battling to combat the raging poverty and unemployment rates. Although vocational education has been identified as a panacea to these, significant studies reporting obstacles to the implementation of visuals arts as vocational education programs in tertiary institutions have remained grossly insufficient. This is the issues addressed in the study. Survey research design was adopted while 200 purposively selected art education and vocational education respondents from the University of Nigeria, Nsukka, provided participated in the study. Among others, that the respondents agreed that the problems facing the implementation of visual art in tertiary institutions as a vocational education program range from poor awareness to lack of parental support. Further studies examine from students’ perceptive, on how best to implement visuals arts as vocational education programs are recommended.</p
... Although the present study measured different dimensions involved in the formation of an aesthetic experience, the three behavioural ratings obtained do not cover the full spectrum of aesthetic impressions and emotions evoked by a work of art. A host of literature points to the many varied and nuanced responses potentially elicited by an interaction with an artwork (e.g., disgust, boredom, awe, unease, humour, pleasure, sadness; [67][68][69][70]) and future research investigating the effect of negative biographical knowledge on aesthetic outcomes would benefit from employing more differentiated measurement scales (e.g., the Aesthetic Emotions Scale: [71]). Moreover, beyond the influence of contextual information, the actual physical context in which a painting is viewed also affects a person's experience of it (e.g., [5]). ...
Some artists do terrible things. But does knowing something bad about an artist affect the way we perceive the work? Despite increased public interest, this question has yet to be addressed empirically. In this pre-registered study, we used aesthetic ratings and electrophysiological brain responses to shed light on the issue. We found that paintings of artists associated with negative-social biographical knowledge were liked less and found more arousing than paintings of artists associated with neutral information. Such paintings also elicited an enhanced brain response associated with fast and reflexive processing of emotional stimuli (early posterior negativity; EPN). Evaluations of quality and later, more controlled brain responses (late positive potential; LPP) were not affected. Reflecting the complexity of aesthetic experience, this pattern of results became more differentiated when the visual relatedness between the contents of the painting and the artist-related information was taken into account. Overall, our findings suggest that emotional aspects involved in art reception are not spontaneously separated from the artist, whilst evaluative judgments and more elaborate processing may be.
... Hagtvedt et al., 2008) (M wide = 4.01, SD = 2.16; M thin = 4.63, SD = 1.38). The result shows no significant difference between the two designs. ...
Purpose
This study aims to test the possible correlation between the letter height-to-width ratio and consumers’ perception of cuteness.
Design/methodology/approach
Through the design of three groups of experimental questionnaires, this paper carried out experiments on subjects with different professional backgrounds.
Findings
The result shows that perceived cuteness is only beneficial for consumers who adopt communal relationship (rather than exchange relationship) with the brand. Compared to consumers who adopt communal relationship with brands, letters of lower height-to-width ratio are perceived as cuter and thus more preferable than thinner ones, whereas for consumers who adopt exchange relationship with brands, thinner letters are preferred.
Research limitations/implications
To rule out interference, this study focuses only on the height-to-width ratio of the letters. In the future, researchers can pay more attention to the mobility of brand relationships, consumers’ reading strategy and logos’ visual elements that influence consumers’ brand perception (besides height-to-width ratio).
Practical implications
The research reminds scholars that the height-to-width ratio of letters/logos is not only of aesthetic value but also imposes a great impact on consumer perception. And the result of this research explains the contradiction in consumers’ preference for wide vs thin letter shapes and provides evidence for the interaction between brand relationship norms and letter preferences.
Originality/value
To the best of the authors’ knowledge, this research is the first to explore the influence of letter height-to-width ratio in marketing.
In recent years, live delivery has become one of the most effective promotion methods.However, customer verbal attack often happens in live broadcast rooms. Such gratuitous verbal offense will not only affect the performance of anchors,but also affect the general audience's attitude towards the product. Most of the existing studies on live streaming are focused on anchors and product-level factors' while the negative behavior management of audience is rarely involved. Based on the literature, this study divided live delivery into scattered type and focused type, and verified through three groups of experiments that compared with focused delivery, scattered live delivery will promote customers to perceive a higher degree of communal relations and a lower degree of exchange relationship between the brand and customers, thus improving customers' management of negative behaviors. The above effects were moderated by the professional degree of anchors.This paper not only provides a new perspective for the study of live marketing and brand relationship, but also provides theoretical guidance for the merchants who adopt live delivery.
At the heart of emotion, mood, and any other emotionally charged event are states experienced as simply feeling good or bad, energized or enervated. These states - called core affect - influence reflexes, perception, cognition, and behavior and are influenced by many causes internal and external, but people have no direct access to these causal connections. Core affect can therefore be experienced as free-floating (mood) or can be attributed to some cause (and thereby begin an emotional episode). These basic processes spawn a broad framework that includes perception of the core-affect-altering properties of stimuli, motives, empathy, emotional meta-experience, and affect versus emotion regulation; it accounts for prototypical emotional episodes, such as fear and anger, as core affect attributed to something plus various nonemotional processes.
In one study, four tests of artistic judgment and a battery of cognitive ability tests were administered to examinee artists and nonartists. In another study, the artistic judgment tests were administered to professional artists and nonartists. The results showed professional artists and nonartists to differ significantly on all dimensions of visual preference and examinee artists to score significantly higher on several tests of cognitive ability. The results suggest fundamental differences between the visual preferences of artists and nonartists with interesting implications concerning the influence of art background on cognitive development.
Seven experiments with 241 undergraduates tested predictions derived from D. E. Berlyne's (1971, 1974) theory of aesthetic preference. According to this theory, preference is an inverted-U function of arousal potential; the determinants of arousal potential are summed (an increase in the amount of one determinant leads to a decrease in the maximally preferred level of other determinants); and collative properties, such as complexity, are the most important predictors of preference. The experiments did not support these predictions. Preference was related to its determinants by monotonic or U-shaped functions. The predicted trade-off among the determinants of preference was not present. Semantic factors, not collative properties, were the most important determinants of preference.
(I) The psycho-physical approach: formal beauty and aesthetic pleasure image and idea in visual art. (II) The cognitive approach: art and mind art and visual perception. (III) The psychoanalytic approach: visual art and the unconscious the great experience in art. (IV) The existential-phenomenological approach: art and aesthetic experience art and experience.