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TOP-DOWN PROCESSING IN CUBISM: THE DIAGRAM OF HUMAN PROPORTION IN PICASSO’S CUBIST WORKS
Abstract
This study purported to reconsider the role of top-down processing in Cubist paintings. We especially examined the role that Pablo Picasso’s drawings of human body proportions played in his Cubist experimentation. The diagram for the theory of human proportion is an intellectual tool traditionally used in drawing to provide a geometric basis for observation. It serves as a kind of internal model for top-down processing and also as a reference for modifying bottom-up information, to make it conform to an ideal figure or typical image. After clarifying the theoretical scope of this diagram, this study analyzed the drawings of human body proportions made by Pablo Picasso in 1907, and its creative application to Cubist works. Picasso’s use of the diagram of proportion not only disrupts traditional bottom-up information processing, but also problematizes traditional top-down information processing. The final section of this paper further discusses how such problematization of top-down processing is tied to Cubism’s question regarding the perception of reality. In doing so, we reconsider the ways in which abstract schemes that appear in Cubist works create a new dialogue with the sense of reality in a relativist instead of universalist manner.
... Instead of simulating reality, these exhibitions employ methods such as abstraction and distortion and play with the imagery to unfold different perspectives and interpretations. For instance, in Picasso's Cubist paintings, different decoupages and the representation of multiple visions deny the existence of a fixed and unique vision of the reality presented, thus encouraging the spectator to reconstruct it actively (MATSUI, 2023). ...
This review article adopts an interdisciplinary approach in analyzing Picasso’s synesthetic experiences and a transformative glaze on his artwork. It integrates and analyses the methods from different disciplines through Art Historical Analysis. It explores Picasso’s paintings in various phases and investigates possible synesthetic perception by observing patterns of colors, forms, and compositions. Neuroscientific Approaches are incorporated to explain how the sensory input of the receiver could have triggered a cross-modal effect in Picasso’s work by exploring the concepts of synesthesia. Psychological interpretation explores the psychological theory of feeling and investigates how Picasso’s feeling processes are associated with synesthetic feeling and his creative decision-making processes. This article includes a literature review that explains the purpose of positioning Picasso’s synesthetic artwork in the broader context of synesthesia and the theories of art. Due to this kind of multidisciplinary approach adopted in work, the richness of Picasso’s synesthetic imagination can be examined more profoundly, and the interactions between experience, feeling, or even mood of the artist with their art can be reconstructed in detail. In this context, synthesizing findings from the multi-disciplinary literature, this paper offers a novel insight into Picasso’s synesthetic imagination and a holistic understanding of artistic innovation.
... However, the sense of beauty is not necessarily innate but requires predictions based on the kinds of internal models. Matsui (2023) elaborates on the involvement of such top-down processing in the formation and reception of Cubism, one of the leading art movements of the 20th century. Poetry is another important art form created by humans since ancient times. ...
Lisa Feldman-Barrett, who has promoted a psychological constructivism theory of affect, recently proposed the Embodied Predictive Interoception Coding (EPIC) model of affect, on the basis of the perspective of predictive coding. The theoretical framework of predictive coding argues that the brain creates inner models which can provide predictions for perception and motor movement, and that perception and behaviors are emerged from Bayesian computations rooted on the predictions. The EPIC model expands this perspective into interoception, which is perception of inner body states, and tries to explain phenomena of affect as integrative experiences based on interoception. This article introduces concepts of the EPIC model and examines the model by referencing to empirical findings.
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