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The Power of the Center: A Study of Composition in the Visual Arts
... However, through such traditional gestalt notions one can better understand the instability of excursive objects. Arnheim insists that perception brings forth centric (gravitational and eccentric) dynamic forces (Arnheim [1983(Arnheim [ ] 1984. In his theory, the artwork also sends out its 'vectors', which act upon the viewers and determine the dynamics of their approach and receding (Arnheim [1983(Arnheim [ ] 1984. ...
... However, through such traditional gestalt notions one can better understand the instability of excursive objects. Arnheim insists that perception brings forth centric (gravitational and eccentric) dynamic forces (Arnheim [1983(Arnheim [ ] 1984. In his theory, the artwork also sends out its 'vectors', which act upon the viewers and determine the dynamics of their approach and receding (Arnheim [1983(Arnheim [ ] 1984. ...
... Arnheim insists that perception brings forth centric (gravitational and eccentric) dynamic forces (Arnheim [1983(Arnheim [ ] 1984. In his theory, the artwork also sends out its 'vectors', which act upon the viewers and determine the dynamics of their approach and receding (Arnheim [1983(Arnheim [ ] 1984. When the viewers leave their position as a center and interrupt their own activity, the object starts operating with its own structure independently of the subject. ...
This paper focuses on installation art and its potential to employ and elaborate psychological concepts. As Claire Bishop argues, installation art has a psychologically absorptive character because it activates and immerses the viewing subject. To analyze this immersive experience, she refers to Maurice Merleau-Ponty and the premise that subject and object are intertwined and reciprocally interdependent. In this paper I refer to these registers of artistic perception in order to explore the concept of ‘excursive object’, which was introduced by the contemporary artist and theorist Peter Tzanev in a site-specific installation (Credo Bonum Gallery, Sofia, 2018). It refers to both Elizabeth Helsinger’s term ‘excursive sight’ and to Michel Foucault’s notion of ‘discursive object’. Whereas the latter is a discursive textual formation, which consists of apparent internal relations inside a statement, the excursive object of art emerges as a less perceivable configuration of elements. It does not result in a clear perceptual experience and reflects the unstable phenomenological interdependence of subject and object. Thus, Tzanev’s novel excursive objects depart from the usual modes of perception. His concept reveals the viewer’s particular experience of unstable configurations of elements in installation art. Furthermore, it could be explored as a resourceful term to describe perceptive situations in the psychology of contemporary art.
... Therefore, a more direct access to position biases might be possible by examining situations where a location in an empty area has to be chosen. That even an empty area has some hidden spatial structure has already been proposed by Arnheim [16,17]. He assumed that such a structure results from attentional and/or perceptual processes, and cause that people prefer certain regions. ...
... As mentioned, Arnheim [16,17] proposed that even empty spatial areas (frames) have some hidden structure. In rectangular areas, for instance, the axes, diagonals, and the center are regions of high attraction. ...
... A possible approach is demonstrated next. By following Arnheim [16,17], it is assumed that the center, the diagonals, and the main axes are regions of high attraction. The attraction of each component, i.e., the horizontal axes, the vertical axes, the center, the major diagonal, and the minor diagonal, can then be represented by a corresponding bivariate normal distribution with density function f(x, y). ...
In some situations, e.g., when filling out lottery tickets, it can be advantageous to select random locations. However, people usually have difficulties with this, because they are biased by preferences for certain regions, such as the center of an area. According to ideas from art theory, the preferred regions reflect the hidden structure of perceptual forces within an area. In the present study, these structures were investigated and modeled under different conditions for areas with square and rectangular shape. The general task was to sequentially place a number of dots at random locations in an area by clicking with the computer mouse at corresponding positions on the screen. Whereas in a single-dot condition each dot had to be placed in an empty area, the previously placed dots remained visible in a multiple-dots condition. In three experiments it was found that dots were preferentially placed at the center, the diagonals, and the principal axes. This preference was more pronounced in the single than in the multiple-dot condition. Moreover, sequential analyses revealed that dot placing was not only planned in advance, but that the participants also agreed to some extent in their sequential selections, which produced surprisingly similar sequential spatial patterns across participants, at least for the first dots. Altogether, the results indicate that people have great difficulties with the random selection of locations. Their selections are strongly affected by the attraction of specific regions, by previous selections, and by sequential habits.
... The theme defines content that is central to the narrative of the painting (Locher et al., 2007). In Western paintings the theme is typically painted around the center of the painting (Arnheim, 1982;Berlyne, 1971;Gombrich, 1992). The context, in contrast, locates the theme in a specific setting but is not open to change while not affecting the theme. ...
... Faces are reasonably easy to define as an ROI but the area beyond faces is more complex. While precise definition of the spatial boundary between theme and context in any painting may be open to question, in practice there is strong agreement between art experts of what areas constitute theme and context (Arnheim, 1982;Gombrich, 1992). Here we follow the same procedure as used in Trawi nski, Zang, et al. (2021;see also Trawi nski, Mestry, et al., 2021, for similar approaches) that was underpinned by seeking agreement across experts for the paintings shown in that study. ...
... The definition of context and theme ROIs makes sense with respect to art theory (Arnheim, 1982;Berlyne, 1971;Gombrich, 1992), however, the participants in the present study were (largely) naïve to art. This point is important as considering theme and context as being discrete might obfuscate a simple account of the present results. ...
British and Chinese participants viewed a set of Western representational paintings (henceforth paintings) for later identification in a yes/no discrimination task. Eye movements were recorded while participants viewed the paintings with each painting split into face, theme of the painting and its context regions of interest (ROIs). British participants performed the discrimination task more accurately than Chinese participants. Eye movement data were first analyzed to confirm reliable individual differences in the proportion of fixations made to ROIs, and second, for evidence of a cross-cultural influence in focus on ROIs over the time-course of viewing. The results confirmed that individual differences in the proportion of fixations made to ROIs were reliable across a subset of paintings for both British and Chinese. In the context of the present study, this finding was a precondition to explore the time-course of fixations across ROIs. With respect to the time-course of fixations across ROIs, Chinese participants focused more on the theme, and less on faces (and vice-versa for British participants), in a period starting around 2 s after the onset of viewing. Earlier in viewing there was evidence that Chinese participants had an increased focus on the context. The results (a) extend the findings reported by Trawiński, Zang, et al. (2021) on the impact of the Other Race Effect on the viewing of paintings; (b) show the time course associated with a more general cross-cultural influence on scene perception (Masuda & Nisbett, 2001).
... Human values and attitudes are essential in recentering from self to other people, enabling perceiving the situation as a new whole, overcoming ego-perspective and stereotypes, grasping people's needs, and enabling designing new human experiences (Arnheim, 2009;McKim, 1980a;Wertheimer, 1945). In contrast, negative assumptions and self-centric attitudes often prevent designers from seeing the whole situation from diverse points of view. ...
... Visual thinking abilities allow perceiving, imagining, expressing, and communicating these various aspects (McKim, 1980a). Such visual abilities incorporate sketching, mock-up building, and enacting situations (e.g., role-playing) to directly experience the designed situation from various centers (Arnheim, 2009;McKim, 1980a;Simsarian, 2003). Finding a shared language between diverse groups that allows communicating, debating, experiencing, and evaluating conceptual and tangible designs are imperative abilities for creative collaboration. ...
... Design is often reduced to merely visual product languages reinterpreting existing designs or technical aspects of optimizing structures and functions with little regard to addressing the fundamental tensions and profound needs existing in the world. Such designs result from self-centered attitudes, in which designers' needs and interests determine thinking and activities (Arnheim, 2009). ...
... 17 Viz WHITE, 1981-1982. či širší laická veřejnost). 19 Tento výčet není možné považovat za konečný; slouží především jako ilustrace roztříštěnosti komunikačního prostoru práva. ...
... Přestože porozumění právu není založeno pouze na porozumění jazyku, 337 je na něm existenciálně závislé, a to především proto, že je komunikováno převážně prostřednictvím jazyka. Při hledání významu pojmu srozumitelnosti právního textu je tedy třeba brát v úvahu vedle porozumění 333 Viz WHITE, 1981-1982nebo GOODRICH 1984, op slovům i porozumění konceptuálním souvislostem. Srozumitelnost právního textu je tedy i srozumitelností kontextuální a konceptuální, která je závislá na dalších specializovaných znalostech, jako jsou například povaha a role daného konceptu v daném právním systému, jeho místo v systému práva, jeho vztah k dalším konceptům atd. ...
... 73 Smejkalová a Škop v návaznosti na tyto Ecovy úvahy rozvádí, že čtenář nemusí být jen reálná osoba čtoucí text, ale také i funkce textu. 74Ať už tedy pracujeme s tím, že autor textu či sdělení má či nemá jasnou představu o čtenáři či příjemci svého sdělení, můžeme v kontextu právníchViz WHITE, 1981-1982, op. cit., s. 426. ...
This book focuses on the image of the Czech judiciary viewed through the texts of its decisions. The texts of judicial decisions are understood as the self-portraits, which are being created by the judiciary itself. On the one hand, these self-portraits statically reflect the nature of the legal system and the role of the judiciary within this system; on the other hand, they represent a means of a dynamic change. This dynamic change is not only the change that fol- lows from the judicial interpretation and application of law, but also such that is capable of changing the role of the judiciary and its decisions themselves. The text of this book shows the ways in which the texts of judicial decisions reflect the relationship between the judiciary and the state authority. It also shows, how strong an influence does the judiciary have on the normative value of its case-law, i.e. the prominent element in its role of dynamically creating its own role within the legal system.
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In the context of reader-response criticism of a text, the main focus of this book is put on the addressees/readers of the judicial decisions. In particular, it focuses on the form, language, publication and presence of references to (legal) sources and their role in the formation of the audience of the judicial decisions. Based on the stylistic and semiotic analyses of texts, four main areas of focus have been chosen as a basis for the analyses of issues of the legitimacy of the judiciary and the issue of the addressees of judicial decisions.
These four areas of this book are: form and structure of the texts of judicial decisions, language of judicial decisions, publication of judicial decisions, and references to (legal) sources. In the context of these areas, individual elements have been identified and analysed. In relation to each of these ele- ments, this book debates the meaning they convey to their addressees and to what conclusions regarding the legitimacy of judiciary they lead.
Based on the analyses and discussions of the notion of comprehensibility of the language and publication of judicial decisions, it has been concluded that the primary addressee of the decision is neither a lay party to the trial nor the lay public. The communication sphere of judiciary and lay public is not – at least based on the texts of Czech judicial decisions – the primary legitimation sphere of the judiciary. Texts of judicial decisions are addressed primarily to the readers from the ranks of lawyers. Among these, a special group of addressees must be identified – the courts themselves, may it be in the context of the normative value of case-law or in the context of rela- tions between individual courts in the hierarchy.
The quality of the judicial decisions (as a sum of their legality, language, form, publication and persuasiveness of argumentation) – as a factor influ- encing the output legitimacy of the judiciary – plays a dominant role espe- cially when it comes to the lawyer audience. For the lay public, input factors seem to be more important, because to them, even an incomprehensible and unpublished judicial decision, not citing any case-law, may be legitimate. The explanation if this claim may be found in the fact that any authority needs from its subjects a faith in its legitimacy and participation in its processes. Generally speaking, texts of judicial decisions exclude some of their address- ees (to whom is the text addressed and to whom the rights and duties are
Abstrakt a klíčová slova
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SOUDNÍ ROZHODNUTÍ JAKO AUTOPORTRÉT ČESKÉHO SOUDNICTVÍ
imposed) from their readers (those who are able to understand the text and its regulative consequences).
In the light of the findings contained in this text and in the context of this book, it should be concluded that this situation is not acceptable. An open democratic society can hardly allow the existence of such a judiciary that is not open to the social control through comprehensible and effectively accessible texts of its decisions. Without these characteristics, there is no point in further debating the symbolic nature of information contained therein or the persuasiveness of deployed argumentation methods for the lay public.
... The psychological theories in Productive Thinking explain how people determine new solution-methods that resolve grasped problem-situations and structural tensions and satisfy human needs in everyday life. Various design scholars and practitioners developed design practices and strategies to educate and support people in thinking and collaborating productively (Arnheim, 2004(Arnheim, , 2009Arnold, 1959;Brown, 2009;McKim, 1972;Schön, 1983). Productive Thinking incorporates the thought processes, driven by psychological factors and forces, in everyday problem finding and solving. ...
... They are foundational to creative accomplishments in science, art, and design (Duncker, 1945;Guilford, 1950;Selz, 1922;Wertheimer, 1945). Productive Thinking occurs in mathematics, physics, music, painting, product design, and sports, to name a few (Arnheim, 2009;Arnold, 1959;Pólya, 1957;Selz, 1922;Wertheimer, 1945). Questions regarding Productive Thinking are still investigated in contemporary research in psychology and neuroscience (Kounios & Beeman, 2009Mayer, 1995;Wertheimer, 1996). ...
... Such Productive Thinking requires discovering, envisioning, going into deeper questions (Wertheimer, 1945). Understanding the whole situation of tension requires recentering (Arnheim, 2009;McKim, 1980a;Wertheimer, 1945). Recentering is the change from, e.g., understanding the whole situation centered on the "ego" (i.e., one-sided) to grasping the whole situation centered on togetherness (i.e., different needs, experiences, and points of view) (McKim, 1980a;Wertheimer, 1945). ...
This book chapter outlines the theory of Productive Thinking in Design. This theory is the psychological foundation of today’s Design Thinking. Productive Thinking incorporates the psychological processes of finding a need, problem, or structural tension and determining a means that satisfies the need and harmonizes the tension. These psychological processes are driven by forces and factors, including attitudes, attributes, and human values. In this article, we outline five different types of Productive Thinking and discuss them in the context of Design. These are (1) Rational, (2) Situational, (3) Experimental, (4) Dialectic, and (5) Counterproductive. Each type of Productive Thinking is dependent on the situational context for which a design solution needs to be created. For example, a situation in which a solution-method can be determined directly requires Rational Productive Thinking, while unintelligible, ambiguous, and emerging situations require Experimental or Dialectic Productive Thinking. We emphasize that it is essential to cultivate a Productive Culture in which individuals can freely, creatively, confidently, competently, and collaboratively design for a harmonious ecological and social whole.
... Theories of visual grammar and semiotics teach us that various resources may indicate importance (Arnheim, 1974(Arnheim, , 1997Kress & van Leeuwen, 2006). Placing an element in the centre of a visual representation, for instance, can be a sign of importance (Arnheim, 1982). In the same way, certain verbal and non-verbal signs may signify importance in press conferences: standing up, being close to the centre or the person placed in the centre, entering first, being serious, being brief and precise in delivery, and using a manuscript. ...
... This ascribes meaning and importance to the elements. Just as the centre in visual rhetoric is imbued with importance (Arnheim, 1982), so may the first arrival, or the first person in a line, be imbued with importance. If such ideological structures follow the common and accepted norms, they are not noticed. ...
Why did citizens adhere to the strict measures imposed by national authorities during the early phase of the Covid-19 pandemic in March 2020? One part of the answer is the way the first press conferences constituted the situation as an urgent crisis and the authorities as legitimate leaders in charge. This chapter examines the rhetoric of government press conferences in Scandinavia during the initial outbreak of the Covid-19 pandemic. I discuss the press conference as a rhetorical genre and establish the studied press conferences as instances of a subgenre of the political press conference: the justifying press conference. Phases, procedures, and aims of this subgenre are defined, and the arrival phase is particularly examined. This chapter demonstrates how the multimodal aspects of the press conferences contributed to constituting the pandemic as an emergency and establishing the ethos of the authorities as active and responsible. This constitution functioned as a multimodal justification of the measures and actions taken and the legitimising of the power of the authorities in Denmark, Norway, and Sweden.
... The center of any rectangular frame has a strong attentional pull (Arnheim, 1988;Guidi and Palmer, 2015;Hubbard, 2018). Moreover, looking there would maximally fill the V1 cortical response areas for a rectangle of that size, and the larger the rectangle the greater the extent of the neural area stimulated. ...
... One contribution of this article is to link all four of these established results, while qualifying the decontextualized view that the center of a rectangle draws attention (Arnheim, 1988;Guidi and Palmer, 2015;Hubbard, 2018) (Note 14). Thus, given this confluence, that I was both experimenter and subject seems less problematic. ...
Popular movies are constructed to control our attention and guide our eye movements across the screen. Estimates of fixation locations were made by manually moving a cursor and clicking over frames at the beginnings and ends of more than 30,000 shots in 24 English-language movies. Results provide evidence for three general filmmaking practices in screen composition. The first and overriding practice is that filmmakers generally put the most import content ‒ usually the center of a character’s face ‒ slightly above the center of the screen. The second concerns two-person conversations, which account for about half of popular movie content. Dialogue shots alternate views of the speakers involved, and filmmakers generally place the conversants slightly to opposite sides of the midline. The third concerns all other shots. For those, filmmakers generally follow important content in one shot by similar content in the next shot on the same side of the vertical midline. The horizontal aspect of the first practice seems to follow from the nature of our field of view and vertical aspect from the relationship of heads to bodies depicted. The second practice derives from social norms and an image composition norm called nose room, and the third from the consideration of continuity and the speed of re-engaging attention.
... William James defined human consciousness as a cognitive field divided in two functional parts: focus, which is most important and background, where less important objects are perceived (James, 1890(James, /1981. The idea that most important figures should be positioned in the central part of the painting has been known by artist long ago (Ross, 1907) and was later demonstrated by findings of gestalt school (Arnheim, 1974;1982). Arnheim described the visual field as a dynamic structure within which the perceptual forces are interrelated and manifested. ...
... Patterns that are estimated as simple, usual, uninteresting, unnoticeable, ugly, disharmonic, unpleasant, asymmetric and static are more frequently related with middle and peripheral positions. Results are in accordance with the assumption that highly evaluated objects tend to be placed in the central position of the works of art (Arnheim, 1974;1982;Palmer, Gardner & Wickens, 20081998Palmer, 1991;Palmer, Gardner & Wickens, 2008;Palmer & Guidi, 2011). Also, it is congruent with traditional design of Pirot carpets where most beautiful patterns are placed in the central position. ...
The current study aimed to explore the relationship between different value orientations (i.e., self-realization, conventional and hedonistic) and reactive and proactive aggression. Data was collected on 180 students (67% females) with a mean age of 22 years (SD = 4.14) from faculties in Zagreb, using the Value Orientation Scale (VOS, Franc, Šakić, & Ivčić, 2002) and the Reactive-Proactive Aggression Questionnaire (RPQ; Raine et al., 2006). As predicted, self-realization and conventional values were related to proactive aggression. Contrary to expectation, conventional values were unrelated to reactive aggression. As expected, hedonistic values showed a positive relationship with both proactive and negative aggression. The results indicated that values are an important predictor of aggression. Additionally, the results indicated that proactive and reactive aggression has different etiologic because dimensions of aggression are related to different values.
... The octagon display also illustrates the power of circular forms for visual thinking as articulated by Arnheim (1969;1982). Arnheim's emphasis on the power of the center is illustrated in Figure 8. Well-designed circular forms allow users to see in parallel larger scale patterns (is the situation continuing to deteriorate?) and more detailed patterns (did an intervention stabilize pressure?). ...
... The power of the center to organize visual search based on Arnheim (1982). A user' s focus of attention and visual scan tend to be anchored around the center of the display whether a physical drawing or a computer display. ...
... Significant parts of art history over the last 100 years have been inspired by theories of perceptual psychology. Throughout the 20th century, there was a fruitful alliance between art history and perceptual psychology, whether Konrad Fiedler (Fiedler, 1913), Heinrich Wölfflin (Wölfflin, 1899(Wölfflin, , 1917, Hans Gombrich (e.g., Gombrich, 1951 or Rudolf Arnheim (e.g., Arnheim, 1954Arnheim, , 1988, to name just a few prominent representatives. ...
Numerous challenges that arise in the field of art history require recourse to expertise in perceptual psychology. In addition to explaining the meaning that people attach to individual works of art and their content, the effect that arises in the recipient is essential to deciding whether the work of art could adequately represent a statement. In addition, with in-depth knowledge of the human act of perception, it is easier to understand what people can and cannot process, when, and how. Art and perception have always formed a unity, as a work of art has no meaning without perception. Artists often acted as intuitive psychologists who understood very well how human perception works and how certain effects can be achieved. Accordingly, art history, which is dedicated to art from a historical perspective, requires precisely this expertise in a systematic manner to adequately depict, describe, and explain the dimension of perception. The following programmatic paper aims to make clear why both disciplines should work closely together and shows what such fruitful paths of joint work could look like.
... Fechner 10 proposed that aesthetic appreciation depends on direct, stimulus driven factors as well as on associative factors. The direct factors refer to the fast perceptual processing of low-level stimulus features such as symmetry 11 , balance [12][13][14] , spatial composition 15 , color combination 16 , and others 17 . In the context of aesthetics this basic low-level feature processing has also been considered as "beauty-response mechanism" 18 . ...
The identification of artistically creative individuals is an important matter in the fields of art, design, and psychology. One promising approach involves assessing a person's products rather than his or her personality or cognitive processes. However, the necessity of expert involvement in such evaluations is still debated. To investigate this issue, two experiments were conducted, each consisting of a production phase and an evaluation phase. In Experiment 1, participants were asked to compose a most beautiful picture, which was subsequently assessed in terms of beauty. Experiment 2 was analogous, but participants were asked to compose a most creative picture, which was then assessed in terms of creativity and beauty. The results revealed that expertise did not play a crucial role in the creation or evaluation of beauty. Both experts and non-experts largely agreed on what constitutes beauty. However, when it came to the production and assessment of creative pictures, experts had an advantage. They were the only group that was able to predict a person's creativity based on the evaluation of his or her product.
... In addition, based on art history research, we used elements of formal analysis that aimed to explore the visual elements of artworks and to analyse the contribution of such elements to the overall impression of artwork (Adams, 1996;Arnheim, 2009;Elkins, 2003;Munsterberg, 2009). Moreover, the stylistic analysis enabled to demonstrate that artworks have common visual features among artists working at the same historical time (Adams, artworks as belonging to Impressionist artistic style. ...
According to aesthetic cognitivism theory, art represents a source of knowledge that promotes understanding, creativity and thinking. However, it remains unclear exactly what kind of art knowledge shapes understanding and thinking. Given the important role played by the arts in acquiring knowledge and facilitating learning and understanding of human culture, this study aimed to shed light on the transformative power of knowledge acquired through art training. Via a pre-registered study, we investigated the extent to which understanding, creative inspiration, thinking, and intellectual challenge judgements are impacted by distinct types of art knowledge training (e.g., in-depth training, brief training or no training), and the extent to which each kind of training generalises to new contexts. Using a training intervention paradigm and a multi-level Bayesian modelling approach, we found that participants (N ~50 per training group) assigned higher ratings of understanding, creativity, and thinking judgements for trained rather than for untrained artworks as a function of art training type. Particularly, in-depth art knowledge training involving visual and auditory descriptions of artworks rather than no training led to greater ratings. The effects of training generalised to unseen artworks produced by the same artist but not to different artists. Compared to the no training group, these effects were most robust for in-depth than brief art training group. These findings suggest that art knowledge training promotes art understanding, creative ideas and thinking, and generalises to new settings that involve a similar artistic style. This work shines a light on the training modality and required duration of art training to shape learning and guide the generalisation effects to novel contexts.
... And (part of) the 'story' is reproduced below: In Reading Images, Kress and I had departed from the idea that the underlying semantic systems of language and the image overlap, so that, in many cases, image and text can make the same meanings, albeit with different means. Transitivity, we argued for instance, is realized in language by the relations between certain kinds of nominal groups and certain kinds of verbal groups, in images, following Arnheim (1972), by vectors and volumes, but these different signifiers realize the same kinds of meaning. But the blood circulation texts showed that his is not necessarily the case. ...
In this paper I show how Gunther Kress, throughout his work, struggled with the contradictory poles of intellectual attraction that lead many other thinkers to firmly anchor themselves to fixed positions and safeguard themselves from doubt. I will focus on two issues, the tension between social determination and individual agency, and the tension between ‘critique’ and ‘design’. In his early work, Kress spoke of the individual as socially determined and of linguistic competence as a product of the social structure. Later he began to emphasize individual agency (and the agency of ‘communities’) rather than the power of ideologies and institutions. But the tension between the two continued to be felt throughout his work. Secondly, though Kress was one of the originators of critical discourse analysis, he later distanced himself from it, arguing that critique looks backwards and focuses on power and convention, while design looks forward and focuses on empowerment and innovation. But here too, the issue was never finally settled, and Kress recognized that critique and design are interdependent. Finally, I will describe Kress’s ‘exploratory’ approach to semiotics in which an open attitude to data, dialogue, and the interdependence of text analysis and theory-formation play a fundamental role.
... Dinamik denge ise bireysel unsurların simetrik olarak düzenlenmediği, ancak bu unsurların görsel kuvvetlerinin birbirini telafi etmesi nedeniyle dengenin sağlandığı bir organizasyon yapısıdır ve çeşitlilik içinde birliğin sağlanabilmesinin bir yoludur. Sanat teorisyenlerinin uzun zamandır denge veya görsel uyum kavramlarını estetik görüntülerin merkezî bir özelliği olarak değerlendirdiği bilinmektedir (Arnheim, 1988;Bouleau, 1980) (Görsel 7). ...
Yeni bir alan olan bilişsel bilim, sanat eserlerinin yaratım, yorumlama ve anlaşılma bilgisi üzerinde önemli sonuçlar doğurmuştur. Estetik deneyim ile insanın biyolojik kökenleri arasındaki ilişkiyi konu alan çalışmaların 19. yüzyıl sonlarına dayandığı bilinmektedir. Ancak beyinde ki süreçleri izlemek için gereken teknolojiler son 50 yıllık dönemde geliştirilebilmiştir. İlk olarak 20. yüzyılın sonlarında Semir Zeki ve V.Ramachandran tarafından temellendirilen Nöroestetik, sanat eserlerinin nasıl algılandığı ve beyinde hangi mekanizmalar dahilinde işlendiğini konu alan yeni bir çalışma alanıdır. Bu araştırmada, Nöroestetik teorisinde ortaya konan bilişsel estetik yasaları, Andan Çoker'in sanat yapıtları üzerinden incelenmektedir. Ayrıca, sanatsal biçimlerin beyinde nasıl algılandığı ve bunların evrimsel kökenlerine dair bilgiler üzerinde durulmaktadır. Görsel algıyı düzenleyen gruplama, simetri ve denge gibi çeşitli ilkeler, insan gözünün görsel deneyimleri algılamasında olduğu kadar sanat yapıtının yaratımı ve değerlendirilmesinde de önemli rol oynamaktadır. Bu doğrultuda, Çoker'in eserleri üzerinden renk, biçim ve ışık gibi duyusal uyaranlarla sağlanan estetik deneyimin kökenleri üzerinde durulmaktadır.
... This book therefore fills a gap and should be placed within the framework of other modern attempts to look at various compositional elements of images and their expressive qualities, 1 Hobson 2004: 300. 2 E.g. Wölfflin 1915Panofsky 1927;Gombrich 1972: 254-256;Gombrich 1972: 129-149;Arnheim 1982. 3 E.g. ...
Concepts such as oblique, vertical or horizontal are so rooted in our daily vocabulary that an explanation of the terms seems superfluous, for these are—or so we think—rather evident and unequivocal words that serve to define a state or a quality. Nevertheless, as the book under review elucidates, the reality is that for ancient Greeks these concepts were not as neatly defined as they are for us today, and that ancient Greek even lacks the words which would unequivocally correspond to our notions of oblique, vertical, and horizontal.
... The interface is the triumph of the Power of the center, a visual composition strategy wisely used by the artists [48]. Visual centers are sources of forces driving the eyes' movements during the exploration of the whole image. ...
The study hypothesis developed in this chapter is that the exercise of art criti-cism and aesthetic judgment encourages the emergence of such specific temper-ament dispositions necessary for a substantial increase in critical thinking skills in engineering students. The metacognitive tools designed in this work consid-ered that criticality requires sensitivity to problems and skills to redefine ap-proaches beyond subjection to functional fixation, a frequent cognitive bias of engineering students. Some of the desired skills considered were: the ability to combine or synthesize ideas, images, or expertise in original ways; the experi-ence of thinking, reacting, and working in an imaginative way; a high degree of innovation, divergent thinking, and above all, being encouraged to take risks. This study shows that the inclusion of artistic spaces for reflection in the engi-neering classroom, including theater, literature, fine arts, modern dance and clas-sic music, is highly effective because the reflection on an artistic artifact goes beyond the concept of utilitarianism and functionality. The advantage of insert-ing flexible artistic spaces within the rigid scientific space is that the artistic arti-fact, when intervened by the students, arouses in them their curiosity, imagina-tion and formation of personal opinion.
... The interface is the triumph of the Power of the center, a visual composition strategy wisely used by the artists [48]. Visual centers are sources of forces driving the eyes' movements during the exploration of the whole image. ...
... These simple portraits without attributes, represent a conscious distancing from the portrait depictions of traditional hierarchical society. Individuality gained more importance than symbols of position and influence (Arnheim 1982;Heiberg 2003:89). ...
This thesis investigates portraits on canvas by Jens Juel (1745-1802) from throughout his forty-year career focusing on whether Juel’s materials and techniques changed with regard to time, location and availability of materials, as well as how these correlate with degradation patterns, especially craquelure. Juel used traditional materials, but variations in use of materials were found between paintings produced
in Denmark and those abroad that provide indication of the circumstances of Juel’s choices, the available materials in Denmark and the market for art and artistic practice in the pre-industrial era. The identified differences in the ground layers especially, appear to be one of the main factors in the development of one type of craquelure over another, and have a significant influence on the mechanical and chemical properties within the structure of the painting. This knowledge can provide an enhanced preservation strategy for paintings on canvas by Juel and his contemporaries.
... • Balance is defined as "the dynamic state in which the forces constituting a visual configuration compensating for one another" (Arnheim, 1983) for a pictorial composition • Complexity refers to "a whole plethora of different stimuli" (Van Geert & Wagemans, 2021) • Good Continuance refers to "the tendency of things to be perceived as a group if they are visually colinear or nearly co-linear." (Pirzadeh, 2012) • Curvature means "the condition or extent of being curved" (URL-3) ...
Turkish Coffee Maker is a well-known product that was invented and first manufactured in Turkey. Although it is a novel product, there is a huge demand for these machines as well as competition among the manufacturers. These companies are already implementing many innovation strategies. However, the study aims to carry out a computer-aided innovation method named Kansei Engineering in the Turkish Coffee Maker domain. Furthermore, many sub-methods were conducted in this research. These are extracting Kansei words, selecting specimens, choosing product properties, conducting affinity diagrams, SD Surveys, Factor, QT1, Descriptive and Multiple Linear Regression Analysis. In total, 257 Turkish people have participated in the study. It is expected that the findings will be beneficial for design experts who are redesigning Turkish Coffee Maker.
DOI: http://doi.org/10.54941/ahfe1001108
... Moving beyond perfect mirror symmetry and other types of rigid order, theories of aesthetics have often emphasised the role of balance. For instance, Arnheim (1971Arnheim ( , 1982Arnheim ( , 2004 has argued that a visual artwork is in balance when it has a good organisation and when all attractive forces cancel each other out and everything seems at rest. In many studies of empirical aesthetics, this notion has been interpreted physically, in terms of centre of gravity or centre of mass, with luminance or colour weights as inputs (e.g., Gershoni and Hochstein, 2011;Locher et al., 1998Locher et al., , 2001aMcManus et al., 1985McManus et al., , 2011 on the notion of compositorial 'weight', see Koenderink et al., 2017). ...
Perceptual organisation is hypothesised as a key in the perception and appreciation of abstract art. Here, we investigated how relational and compositional features affected the perception and aesthetic appreciation of Black Square and Red Square by Kazimir Malevich (1915). We studied how (i) the presence and obliquity of the red square and (ii) the relative configuration of the black and red square affected the detectability of the obliquity of the black square in this artwork. Results showed that the simultaneous presence and obliquity of the red square masked the obliquity of the original black square. The likelihood of the black square being incorrectly perceived as an exact square was always maximum in the original configuration and even slight alterations in the original configuration of the work resulted in the obliquity of the black square to be noticed. The original artwork was more aesthetically preferred compared to its alternatives. We argue that the artist may have intentionally set the configuration to mask the obliquity of the black square and maximise the aesthetic preference.
... In the book The Power of the Center [14], Arnheim emphasizes a holistic interpretation of an entire image or space by considering interacting and balancing sets of forces. Arnheim's argument rejects the concept of restricting architecture to considerations of practical use or economic costs; instead, the need for visual order should be emphasized. ...
The urban landscape can be improved to reduce the stress experienced by citizens. Therefore, stress-relieving buildings constitute a crucial topic and a future trend in architecture and design. In this study, different architectural styles were investigated to explore design methods for and characteristics of stress-relieving building shapes and to identify indicators for measuring participant stress relief while viewing buildings. To understand stress relief from architecture, we performed semi-structured interviews with 60 participants who viewed images of 30 buildings. The semantic differential method with a 7-point image scale was used to rate stress relief from different architectural styles. The study results revealed that the participants perceived curvilinear buildings as interesting but do not relieve stress. The participants identified as feeling high pressure considering rectilinear patterns to relieve more stress. To support this observation, we identified three principles—city image, identity, and spiritual atmosphere—as fundamental loci of designing cities for livability. We illustrate the three principles with several cases that facilitate a detailed understanding of their applicability in biodesign practices.
... 191-192). The Tagalog Arnheim (1974Arnheim ( , 1988, Kress and Van Leeuwen (2006) note that information centered in an image (or sign) is usually rendered salient and hence important. Since the Christmas period is a peak season for sending home balikbayan boxes (Camposano, 2012), the store clearly orients to Tagalog speakers as an important customer base, demonstrating a clear example of audience design (Bell, 1984) knowing that the mid-range prices of Giordano's make their goods a popular choice with the FDWs. ...
One of the hallmarks of Hong Kong’s service economy is the presence of a transnational domestic helper workforce. It is estimated that 370,000 of overseas helpers are employed in Hong Kong homes, of whom 200,000 are Filipino Domestic Workers (FDWs). This linguistic ethnographic study examines FDWs’ positionality and place-making by focusing on their communicative repertoires. The thesis is primarily anchored in the sociolinguistics of transnational labor and globalization and employs analytic frameworks such as content analysis of narrative accounts, spatialization, and sociolinguistic scales. My data, collected in 2017, come from participant and non-participant observation, semi-structured interviews including body silhouette drawings, photographed multilingual and multimodal signage, and other objects displayed in public spaces. The data reveal that participants mobilize their multilingual repertoires in a manner that enables them to negotiate their symbolic place within global migration flows and local (domestic work and leisure) affairs. In their narratives, participants thematize communication, transportation, and financial infrastructures linking the Philippines and Hong Kong allowing them to both reflect and reconcile their transnational status and positionality, being ‘at home’ both in Hong Kong and in the Philippines. Participants’ desire for maintaining a home environment is likewise observed in certain spaces of gathering in their time off work, such as those on Sundays and public holidays in Hong Kong’s Central district. It is then that this ‘global’ financial and business district is transformed and re-scaled by their home-making and activism in social, material, and affective ways as ‘Little Philippines’, indexing a global ‘periphery’. This re-ordering enables FDWs to fleetingly own these spaces as places of familiarity, belonging, and preferred futures. However, the analysis of regulatory and commercial signs carrying Tagalog in Central reveals a more contradictory institutional positioning of FDWs. On the one hand, they are construed as economically desirable target consumers, while on the other as low status and marginalized workforce. Thus, notwithstanding the inequalities and injustices evident in the ‘unskilled,’ ‘Global South-North’ migration labor flows, this study offers a somewhat counter-balancing perspective to the English language-focused view of FDWs as predominantly disempowered victims of globalist forces. While acknowledging the marginalization and abuse experienced by FDWs in Hong Kong, this study demonstrates that multiple symbolic and material resources within the migrant’s repertoire (viz., languages, ‘immobile’ infrastructures, and space) unlock possibilities, however nascent, towards an expanded view of transnational domestic workers. That is, migrants move equipped with the means, ability, and disposition to exercise their agency with which, to some extent, they are capable of challenging, subverting and constraining the conditions of neoliberal capitalism, globalization, and power that frame their transnational existence.
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... The art theorist Rudolf Arnheim defines the represented participants in terms of "masses" or "volumes" with a" weight" and" gravitational pull". The vectors -that, as we have seen, represent processes -are also conceptualized as "tensions" and" dynamic forces" (Arnheim 1956(Arnheim , 1982. If we re-read the picture using the vocabulary of Arnheim, who was writing about visual perception, the meaning of a strong vectoriality without a goal may appear clearer. ...
Contemporary media and public accounts have increasingly framed the refugee ‘crisis’ in terms of security, with refugees considered as masses to be managed and controlled, migrants pointed at with generic allegation of terrorist threat, and state borders closed and militarized. Securitization of migration may not be a new phenomenon (Saunders 2014) but it is one that has recently received a great deal of attention (see among others Bigo 2002; Pugh 2004; Huysmans and Squire 2009; Huysmans 2000; Musarò 2017; Vaughan-Williams 2015; Watson 2009). What all these scholars have in common is that they highlight different ways through which refugees are represented, described, and thought of as threat . Media and public accounts have consistently represented refugees through words such as plight, invasion, flood, hordes, or waves (Friese 2017). The “highly heterogeneous and (too) strongly mediation-dependent European politics created an array of – in most cases negative – interpretations of the Refugee Crisis” (Krzyżanowski et al. 2018). In line with this narrative, at the visual level, the images that have accompanied the news on refugees have mostly included overcrowded boats, long lines of people in need, and looming masses of people crammed at border fences.
... The 'affordance-space' account is an example of the former category: according to this view ; for a general discussion of the role of center in aesthetics, see Arnheim, 1974Arnheim, , 1988, people prefer compositions in which what is centered is not the object itself, but rather the affordance space that surrounds itthat space that "reflects the extent and/or importance of functions that take place in that region around the object" (Sammartino & Palmer, 2012, p. 876). In this view, the prioritized role of the center is often made explicit; for example, it is proposed that "people prefer pictures in which the affordance space, rather than the physical extent of the object, is centered within the frame" (Palmer & Langlois, 2017, p. 817, emphasis added). ...
Although most visual aesthetic preferences are likely driven by a mix of personal, historical, and cultural factors, there are exceptions: some may be driven by adaptive mechanisms of visual processing, and so may be relatively consistent across people, contexts, and time. An especially powerful example is the “inward bias”: when a framed image contains a figure (e.g., a face in profile), people prefer arrangements in which the figure faces inward. Although the inward bias has been studied in many contexts, its underlying nature remains unclear. It may be a function of an image’s center (as in the “affordance-space” account, in which people prefer to center the implied functional extensions of objects), or it may be a function of the frame’s borders (as in the “looking-into-the-future” account, in which people dislike perspectives on scenes that won’t allow them to witness predicted future actions). Here we directly contrast these possibilities using a simple novel manipulation. Observers placed a face (in profile) in a frame to maximize the image’s aesthetic appeal, and across observers we varied the frame’s aspect ratio. We observed a powerful inward bias, and across frame widths observers preferred an approximately constant positive ratio of space in front versus behind the face. This suggests that the inward bias is driven primarily not by the image’s center, but by the frame’s borders — and it is consistent with the possibility that certain regions of empty space are prioritized because they are where future actions are predicted to occur.
... The term representational structure refers to the choices that sign-makers have for how to represent 'objects and their relations in a world outside the representational system' (Kress & Van Leeuwen, 1996 Arnheim (1982), who made the broadest underlying distinction: 'We shall distinguish between volumes and vectors, between being and acting' (p. 154). ...
For creating and reading data visualizations, visual literacy is crucial. This article advances the knowledge about graphical variations and conventions related to the basic graphical element of the graphical line used as a connector in data visualizations. Some visual characteristics of connecting lines can be used to show directionality and thus signal a narrative claim. Arrowheads may be one way to do so. However, particularly in a digital environment , other techniques may be used as well. This article presents a corpus study investigating the ways in which narrativ-ity is signalled by connecting lines in current, publicly available digital data visualizations. The central connecting lines of 163 award-winning data visualizations are analysed with focus on their visual forms and how they represent actions and situations. The repeated occurrence of some visual techniques points to conventions formed both by a long tradition of analogue visualization and the advent of digital production techniques and output devices. The presented results are relevant to researchers, educators and practitioners in the data visualization field, as they provide novel empirical data on the use of an omnipresent graph-ical element.
... The geometric centre of a visual work has special importance [371]. ...
Humans respond cognitively and emotionally to the built environment. The modern possibility of recording the neural activity of subjects during exposure to environmental situations, using neuroscientific techniques and virtual reality, provides a promising framework for future design and studies of the built environment. The discipline derived is termed “neuroarchitecture”. Given neuroarchitecture’s transdisciplinary nature, it progresses needs to be reviewed in a contextualised way, together with its precursor approaches. The present article presents a scoping review, which maps out the broad areas on which the new discipline is based. The limitations, controversies, benefits, impact on the professional sectors involved, and potential of neuroarchitecture and its precursors’ approaches are critically addressed.
In recent decades, the debate on consciousness has been conditioned by the idea of bottom-up emergence, which has influenced scientific research and raised a few obstacles to any attempt to bridge the explanatory gap. The analysis and explanation of vision conducted according to the accredited methodologies of scientific research in terms of physical stimuli, objectivity, methods, and explanation has encountered the resistance of subjective experience. Moreover, original Gestalt research into vision has generally been merged with cognitive neuroscience. Experimental phenomenology, building on the legacy of Gestalt psychology, has obtained new results in the fields of amodal contours and color stratifications, light perception, figurality, space, so-called perceptual illusions, and subjective space and time. Notwithstanding the outcomes and the impulse given to neuroscientific analyses, the research carried out around these phenomena has never directly confronted the issue of what it means to be conscious or, in other words, the nature of consciousness as self-referentiality. Research has tended to focus on the percept. Therefore, explaining the non-detachability of parts in subjective experience risks becoming a sort of impossible achievement, similar to that of Baron Munchausen, who succeeds in escaping unharmed from this quicksand by pulling himself out by his hair. This paper addresses how to analyze seeing as an undivided whole by discussing several basic dimensions of phenomenal consciousness on an experimental basis and suggesting an alternative way of escaping this quicksand. This mind-set reversal also sheds light on the organization and dependence relationships between phenomenology, psychophysics, and neuroscience.
The article analyses the conceptual foundations of Parmigianino in relation to his Hermetic and Neoplatonic ideas and alchemical practice, which were important in Renaissance Italian culture. Parmigianino's Self-Portrait in a Convex Mirror embodies the artist as a demiurge, a creator of a new universe. The essay focuses on the symbolic and metaphysical significance of the convex mirror, reflecting the artist's creative power and the hidden values of reality. Melancholy, associated with Saturn, was a characteristic of artists and intellectuals in that cultural context. The following section examines Parmigianino's frescoes of Diana and Actaeon, exploring how this myth symbolizes the pursuit of wisdom and the transformative process associated with alchemy. Finally, the essay analyses Parmigianino's potential interest in alchemy based on historical accounts. The controversy surrounding Parmigianino's involvement in alchemy, along with the opinions of various scholars, is also discussed.
A pupil of Köhler and von Hornbostel in Berlin, Arnheim published an article in the Musical Quarterly in 1984, where he applied the principles of visual composition to the musical form. In a painting, for example, the forces of visual composition are essential for aesthetic enjoyment; in music, sounds are essential as they are always occurring in time, and this constitutes the main dynamic vector of music. Starting with the tetrachord of ancient Greek music and analysing the relationships between notes in the major and minor scales, Arnheim identifies what in the Western musical tradition represents the basis on which each note must relate: the tonal centre, the attractive motor that determines the perceptual dynamics of musical expression. Two examples, taken from Schubert and Béla Bartók, show us how the structure of the melodic construction is essential in generating different states of mind; Arnheim, however, does not stop at the simple eliciting of an emotion, but situates the musical structure in a more general framework, which refers to perceptual patterns belonging to any sphere, mental or physical, thanks to which we experience our reality.
This paper explores the inter-semiotic analysis of the ideational meaning in images generated by the text-to-image AI tool, Bing Image Creator. It adopts Kress and Van Leeuwen’s Grammar of Visual Design as its theoretical framework as the original grounding of the framework in systemic functional grammar (SFG) ensures a solid theoretical basis for undertaking analyses that involve the incorporation of textual and visual components. The integration of an AI generative model within the analytical framework enables a systematic connection between language and visual representations. This incorporation offers the potential to generate well-regulated pictorial representations that are systematically grounded in controlled textual prompts. This approach introduces a novel avenue for re-examining inter-semiotic processes, leveraging the power of AI technology. The paper argues that visual representations possess unique structural devices that surpass the limitations of verbal or written communication as they readily accommodate larger amounts of information in contrast to the limitations of the linear nature of alphabetic writing. Moreover, this paper extends its contribution by critically evaluating specific aspects of the Grammar of Visual Design.
This article examines single-image narrative forms, demonstrating how they inform and problematize Joe Sacco’s works of graphic journalism. I analyze three different single-image narratives, the splash page, the spread, and the bleed, originally found in superhero and adventure comics, and show how they function in Joe Sacco’s Safe Area Goražde, The Fixer, and Palestine. Single-image narrative forms problematize visual reporting as suspended between involvement and distance. I investigate how Joe Sacco, a graphic artist and a journalist in one person, manipulates images which were originally conceived as “attention grabbers” for the comics reader so that they become a commentary on the ethics of journalism
The first study analyses the first saccade on paintings. The study shows an attraction of the first saccade towards the center of the paintings in museum context. This attraction for the center of the paintings can be seen in all groups of subjects, but it is significantly less marked among novices who never go to museums. It is among amateurs that the central pregnancy is most frequently observed. Among experts, and to a lesser extent among amateurs, the pictorial composition is an important factor in determining the orientation of the first saccade, the experts target from the first saccade the main subject. The experts seem to adopt a strategy of entry into the work by targeting from the first saccade a key place that delivers the maximum of visual information, the center when the main subject appears there, or a peripheral area when the main subject is eccentric or shifted.KeywordsPaintingsFirst saccadeCentral biasEcological contextImpressionismMain subject in paintingPictorial compositionExpertAmateurNovice
The influence of British and Chinese culture on the viewing of paintings from Western and East Asian traditions was explored in an old/new discrimination task. Accuracy data were considered alongside signal detection measures of sensitivity and bias. The results showed participant culture and painting tradition interacted but only with respect to response bias and not sensitivity. Eye movements were also recorded during encoding and discrimination. Paintings were split into regions of interest defined by faces, or the theme and context to analyze the eye movement data. With respect to the eye movement data, the results showed that a match between participant culture and painting tradition increased the viewing of faces in paintings at the expense of the viewing of other locations, an effect interpreted as a manifestation of the Other Race Effect on the viewing of paintings. There was, however, no evidence of broader influence of culture on the eye movements made to paintings as might be expected if culture influenced the allocation of attention more generally. Taken together, these findings suggest culture influences the viewing of paintings but only in response to challenges to the encoding of faces.
Frame breaking in traditional Persian paintings, also known as Persian miniature, is a practice where parts of the frame are intentionally left open for some painting elements to exit the frame. This repeatedly occurred in this tradition; and was used methodically in Herat and Tabriz II schools. However, the motivation behind it is not completely known. Persian miniature, in its heyday, departed from its structural form and esthetic principles mostly because of its acquaintance and fusion with the then new form of European paintings and its most notable technique, linear perspective. Frame breaking could be thought of a sign of remediation and reform in Persian miniature. More specifically, frame breaking was a premediation sign, which would shape the later changes in traditional Persian paintings. As such, by emphasizing the frame, albeit broken rather than eliminating it, we become aware of the medium or media. This interpretation is adopted from hypermediacy according to Bolter and Grusin’s remediation theory. Here, an attempt is made to analyze the practice of frame breaking in traditional Persian paintings through this theory.
This chapter outlines a humanistic and creative Philosophy of Design that evolved over several decades at Stanford University. This Philosophy of Design is often referred to as Human-centered Design and Design Thinking. It incorporates humanistic and creative qualities, including creative thinking modes, attitudes and human values, creative attributes, visual and collaborative abilities, blocks to creativity, activities and practices, useful techniques, and a supportive environment. Developing and cultivating these qualities aims to encourage creative design in individuals and teams that satisfies people’s profound needs and resolves and harmonizes societal and ecological tensions. The intention is to develop innovators. A critical number of creative individuals who collaboratively support and help each other in the challenges inherent in designing innovation and entrepreneurial activities can spark an era of innovation.KeywordsPhilosophy of designCreativityHuman-centered designDesign thinking
Language contact has presumably had an impact on all of the world’s languages.
This Ph.D. dissertation provides a thorough description of the lexical outcomes
of the contact between the arguably young American Spanish and the youngest
variety of Southern Hemisphere Englishes, thus closing a gap in the literature on
Spanish and English as contact languages.
Situated at the crossroads of toponomastics, lexical semantics, and language
attitudes, and embedded within a theoretical framework of contact linguistics,
this thesis addresses the contact history of Falkland Islands English with Spanish
and examines to what extent such contact played a part in the shaping of the
archipelago’s official language. To do so, an innovative mixed-methods approach
is used to broaden the analytical depth of the results. Furthermore, a range of
sources are used, i.e., archival research, literature reviews, and ethnographic
fieldwork.
The findings show that (i) Spanish-English contact in the Falklands has left two
main linguistic products: loanwords and place names; (ii) even though the Falklands
currently host an English-speaking community, the Islands have a long history of
Spanish-speaking settlers; (iii) Spanish loanwords are mainly related to horse tack
and horse types, and most words are tightly connected to gaucho vernacular but
not exclusively with their equestrian duties, and (iv) Falkland Islands English hosts
a handful of loanwords that are originally from autochthonous South American
languages.
This dissertation will be of interest to scholars working on language contact,
toponomastics, world Englishes, and ethnolinguistic approaches to data collection.
The method introduced in this chapter combines queer theory and Rudolf Arnheim’s theory of visual composition introduced in his book Power of the Center – A Study of Composition in the Visual Arts (1982), and more specifically his concept “visual weight”. The main purpose of using a queer method in Art History or Visual Studies is to add visual records of queer bodies and queer life into the catalogue of a queer Art History or used in an interdisciplinary context—the queer archive (Halberstam, In a Queer Time and Place: Transgender Bodies, Subcultural Lives. New York: New York University Press, 2005). I will study visual weight as imagined gravity in the sport manga Real by Takehiko Inoue with the purpose to discuss the queer body. Real is a story that evolves around three young men who experience different tragic life-changing events. They all have a common passion for basketball, and sport performances are at the centre of this story. Damage to their bodies caused by illness and accident has led two of them to be dependent on a wheelchair to be able to practise basketball. The third character suffers from bad conscience having caused a traffic accident resulting in a girl damaging her legs.KeywordsRudolph ArnheimVisual weightImagined gravityQueer bodiesSport mangaTakehiko Inoue
Interest has been growing in the role of subjective aesthetics in the field of food. This study explored the mechanisms by which the aesthetic appeal of plate patterns influences consumers’ perceptions of food. Three experiments were conducted to compare whether different levels of beauty and types of plate pattern aesthetics (classical versus expressive) affected the perceptions of tastiness and healthiness of the food offered. Experiment 1 was carried out with 30 participants, and the results showed that participants perceived the food presented on more beautiful plates as tastier and healthier than the food on less beautiful plates. Experiment 2 was carried out with 128 participants; the results showed that, for expressively aesthetic plates, the participants experienced more positive emotions for very beautiful plates and more negative emotions for less beautiful plates. However, for classical aesthetic plates, participants’ emotions were not affected by the beauty of the plate. Experiment 3 was carried out with 149 participants, and the results showed that, for classically aesthetic plates, participants perceived the food placed in the middle to be tastier than food placed at the edge; however, for expressively aesthetic plates, food placement did not affect participants’ perceptions of food. These results demonstrate the importance of the subjective beauty of plate patterns in influencing consumers’ food perceptions, although this influence varies depending on the type of aesthetic design of the plate pattern.
z Çerçeve, sınır olarak, kuşattığı imge ile etkileşim içindedir. Bu ilişki imgenin içeriğini ve anlatıyı biçimlendirir. Bu bağlamda çalışmanın amacı, Bizans anıtsal resminde çerçeve ve imge arasındaki ilişkiyi incelemektir. İlk kısımda; Ayasofya'daki Zoe, Komnenos ve İmparator Kapısı mozaikleri ile çerçevenin resimsel uzam ve anlatı formlarının tasarımındaki rolü tartışılmıştır. İkinci kısım, Kariye ve Hosios Loukas'taki Pantokrator tasvirlerinin çerçeveleme detaylarına odaklanarak, imge ile izleyici arasındaki etkileşimde çerçevenin işlevini açıklamaya çalışmaktadır. Son bölümde ise, Fethiye Camii Güney Şapeli'ndeki Deesis Mozaiği ele alınmış ve spesifik çerçeveleme stratejileri ile mimari uzamda resimsel bir kompozisyonun kuruluşu üzerinde durulmuştur. Sonuç olarak çalışma; çerçeve-imge ilişkisinin çözümlenmesinin, imgenin içeriği ve anlatı formlarını yorumlamada oldukça anlamlı bir referans olabileceğini önermektedir. Anahtar Kelimeler: Çerçeve, İmge, Bizans Sanatı, İkonoloji. Abstract The frame, as a border, interacts with the image it encloses. This relationship forms the content of the image and the narrative. In this context, the aim of this study is to examine the relationship between the frame and the image in Byzantine monumental painting. The first part presents a discussion about the role of the frame in the forming of pictorial space and narrative analyzing the mosaics of Zoe, Komnenos and The Imperial Door in Hagia Sophia. The second part, focusing on the framing details of Pantokrator images in Hosios Loukas and Kariye, explains the function of the frame in the interaction between the image and the spectator. The last part examines the Deesis Mosaic in the South Chapel of Fethiye Mosque and illustrates the forming of a pictorial composition in architectural space with specific framing strategies. In conclusion, the study proposes that the analysis of the relationship between frame and image could be a significant reference in interpreting the content of the image.
Çerçeve, sınır olarak, kuşattığı imge ile etkileşim içindedir. Bu ilişki imgenin içeriğini ve anlatıyı biçimlendirir. Bu bağlamda çalışmanın amacı, Bizans anıtsal resminde çerçeve ve imge arasındaki ilişkiyi incelemektir. İlk kısımda; Ayasofya’daki Zoe, Komnenos ve İmparator Kapısı mozaikleri ile çerçevenin resimsel uzam ve anlatı formlarının tasarımındaki rolü tartışılmıştır. İkinci kısım, Kariye ve Hosios Loukas’taki Pantokrator tasvirlerinin çerçeveleme detaylarına odaklanarak, imge ile izleyici arasındaki etkileşimde çerçevenin işlevini açıklamaya çalışmaktadır. Son bölümde ise, Fethiye Camii Güney Şapeli’ndeki Deesis Mozaiği ele alınmış ve spesifik çerçeveleme stratejileri ile mimari uzamda resimsel bir kompozisyonun kuruluşu üzerinde durulmuştur. Sonuç olarak çalışma; çerçeve-imge ilişkisinin çözümlenmesinin, imgenin içeriği ve anlatı formlarını yorumlamada oldukça anlamlı bir referans olabileceğini önermektedir.
This article focuses on understanding and developing the perception of monolithic architecture and its relationship with hylomorphism through autoethnography method as the example of the historical cupola cistern in Turkey as a human scale building type. The article focuses on understanding spaces or spatial components that excite and impel us in our first architectural encounter. Some monolithic forms bring up the concept of hylomorphism, while they contain a
spatiality that emphasizes or is reminiscent of the body in human perception. This article focuses on the relationship between monolithic spaces, interpreted as muted architecture, regarding hylomorphism as critically developed by Aristotle and Simondon.
This article explores the use of photography and visual motifs as forms of political humour in contemporary media. By studying the representation of former Prime Minister of Spain Mariano Rajoy in the front pages of three Spanish newspapers (El Mundo, El País and La Vanguardia) between 2011 and 2017, the paper identifies and questions the liaisons between power and satire present in the so-called “serious” press, focusing on how different photographic traits concerning layout, composition and gestures reflect ideological choices. This photographic satire developed by printed media is then framed within a figurative tradition that goes back to Spanish royal portraiture, from Velázquez to Goya, which employs common strategies for the visual depiction of power, including satirical and humorous attributes to push specific political agendas. This examination, based on the quantified study and the visual analysis of more than 7,500 front pages, is part of the national research project Visual Motifs in the Public Sphere: Production and Circulation of Images of Power in Spain, 2011-2017. In order to determine a useful procedural approach to satirical expressions in photographs, defining which front pages invoke a remarkable satirical content, this article also presents a comparative study and a categorisation based on formal (im)balances related to the concepts of visual motif and humour.
Este artículo, primera parte de una serie, repasa la idea de ‘centro’ de la ciudad mediante un análisis de algunas propuestas utópicas, incluidas las de Howard para la ciudad jardín y finaliza en el análisis de la policentralidad de la ciudad medieval.
Tras un repaso de la evolcución de las ciudades circulares y poligonales realizado a partir de un análisis de fuentes secundarias, iconografía artísica, cartografía de los primeros tiempos de la imprenta e imágenes de Google Earth, entra en la discusión acerca de la ‘ciudad ideal’estudiando dicho concepto en la escolástica medieval, especialmente en la obra de Eiximenis, así como la relación de este ideal con la materialización de las ciudades [1] medievales de repoblamiento, valorando la relación entre los trazados y la emergencia del centro urbano y [2] el estudio, con distintas intensidades, de ciudades medievales importantes: Siena, Bolonia, Florencia, Venecia, Bruselas, Cracovia, Nápoles y Barcelona.
En el caso de estas dos últimas ciudades el artículo focaliza en la importancia del espacio portuario y de ribera, como gran espacio público de la ciudad.
The ongoing digitization of culture and society and the ongoing production of new digital objects in culture and society require new ways of investigation, new theoretical avenues, and new multidisciplinary frameworks. In order to meet these requirements, this collection of eleven studies digs into questions concerning, for example: the epistemology of data produced and shared on social media platforms; the need of new legal concepts that regulate the increasing use of artificial intelligence in society; and the need of combinatory methods to research new media objects such as podcasts, web art, and online journals in relation to their historical, social, institutional, and political effects and contexts. The studies in this book introduce the new research field “digital human sciences,” which include the humanities, the social sciences, and law. From their different disciplinary outlooks, the authors share the aim of discussing and developing methods and approaches for investigating digital society, digital culture, and digital media objects.
This article proposes an alternative method of making comparative judgements in multivariate paired comparisons (PCs) where judgements about change are made directly by comparing an object at two time points for each of a series of attributes. The application deals with the design of shop window displays where products should be arranged by teams of vocational students according to aesthetic principles (attributes).
The photos of the students’ window displays at time 1 (before feedback) and at time 2 (after feedback) were compared by judging each attribute as to whether it was fulfilled better at time 1 or at time 2. An advantage of this PC approach over an alternative of a scoring system is the possibility to assess even subtle changes of various aspects of attractiveness, which cannot easily be measured using a score. To analyse these data, we used earlier work which developed both a multivariate PC pattern model for multi-attribute data and a PC model over time and defined a multivariate PC model of changes (MPCC). The model can be fitted as a non-standard Poisson log-linear model and provides estimates of change for the three attributes for time 2 and we were able to check for possible interaction effects between these attributes.
This article explores the modes of form-construction in the performative sphere of the Brokpa’s cultural enactment. Anthropocenic anxieties are embedded in the territoriality of this Himalayan community’s folk art-form and the terrain constitutes a stage to host it. The participatory framework of their songs and dances reveals the social roles that shape the positionalities of the audience and the performer, signaling a free-flowing movement between these locations in the performative field. The Brokpa dancer’s identity, carved out as a racialized attraction for the tourism market, also undergoes differentiation within the community itself based on class, gender, age, and other socio-economic indices. Yet the ultimate signifier of a performing Brokpa subject is authenticated through social differences heightened by modernity, while constantly resisting the exoticized portrayals of the community. What emerges in the end is a problematization of the line between the folk and contemporary, local and global, and traditional and modern art-forms.
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