scholarly journals The way others move can influence what we choose

2018 ◽  
Vol 72 (7) ◽  
pp. 1756-1770 ◽  
Author(s):  
Paul AG Forbes ◽  
Steph F Suddell ◽  
Harry Farmer ◽  
Yanakan Logeswaran ◽  
Antonia F de C Hamilton
Keyword(s):  
Movement Trajectory ◽  
Menu Item ◽  
Art Gallery ◽  
Virtual Character ◽  
Spatial Correspondence ◽  
Action Goal ◽  
Pointing Movements ◽  
Spatial Condition ◽  
The Way

Whether pointing at a menu item or rifling through a clothes rack, when we choose we often move. We investigated whether people’s tendency to copy the movements of others could influence their choices. Participants saw pairs of pictures in private and indicated which one they preferred. They then entered a virtual art gallery and saw the same picture pairs in the presence of a virtual character. Having observed the virtual character point to indicate her preference with either a high or low movement trajectory, participants indicated their preference. There was either an anatomical (same movement, same choice) or spatial correspondence (same movement, different choice) between the participant’s pictures and those of the virtual character. We found that participants copied the movement made by the virtual character rather than her action goal (i.e., her choice of picture). This resulted in a shift towards the virtual character’s preferences in the anatomical condition but away from her preferences in the spatial condition. This effect was driven by the observation of the virtual character’s high pointing movements. In a further experiment, we did not find any significant differences in imitation behaviour in autism, although autistic participants were less consistent in their choices. Our findings demonstrate that we are not only influenced by other’s choices but also the types of movements others make to indicate those choices.

scholarly journals A full catalogue and analysis of a collection of postcards at the Art Gallery of Ontario depicting scenes of Toronto

2021 ◽  
Author(s):  
Brian Piitz
Keyword(s):  
Twentieth Century ◽  
Literature Survey ◽  
Production Cycle ◽  
Art Gallery ◽  
History Of ◽  
Art Gallery Of Ontario ◽  
Commercial Photography ◽  
The City ◽  
Photographic Imagery ◽  
The Way

This applied thesis is focused on the full cataloguing and contextualizing of a collection of one hundred and sixteen postcards at the Art Gallery of Ontario (AGO) depicting scenes of Toronto a the beginning of the twentieth century. Twenty-seven publishers representing international, national and regional manufacturers are identified with their imprint on the verso of the postcard. The applied thesis includes a literature survey discussing a rationale for the cataloguing of postcards, as well as a brief overview of the history of postcards and the history of the urbanization of the City of Toronto. A description and analysis of the AGO postcards provides information about the production cycle of postcards, the scope of commercial photography and the dissemination of photographic imagery in Toronto. The thesis also examines the way images were altered in the production cycle and the manner in which photographers and publishers exchanged photographs intended for postcard production.

scholarly journals A full catalogue and analysis of a collection of postcards at the Art Gallery of Ontario depicting scenes of Toronto

2021 ◽  
Author(s):  
Brian Piitz
Keyword(s):  
Twentieth Century ◽  
Literature Survey ◽  
Production Cycle ◽  
Art Gallery ◽  
History Of ◽  
Art Gallery Of Ontario ◽  
Commercial Photography ◽  
The City ◽  
Photographic Imagery ◽  
The Way

This applied thesis is focused on the full cataloguing and contextualizing of a collection of one hundred and sixteen postcards at the Art Gallery of Ontario (AGO) depicting scenes of Toronto a the beginning of the twentieth century. Twenty-seven publishers representing international, national and regional manufacturers are identified with their imprint on the verso of the postcard. The applied thesis includes a literature survey discussing a rationale for the cataloguing of postcards, as well as a brief overview of the history of postcards and the history of the urbanization of the City of Toronto. A description and analysis of the AGO postcards provides information about the production cycle of postcards, the scope of commercial photography and the dissemination of photographic imagery in Toronto. The thesis also examines the way images were altered in the production cycle and the manner in which photographers and publishers exchanged photographs intended for postcard production.

William James and Henri Poincaré

1927 ◽  
Vol 20 (5) ◽  
pp. 253-264
Author(s):  
M. H. Ingraham
Keyword(s):  
New England ◽  
William James ◽  
Important Task ◽  
Henri Poincaré ◽  
Art Gallery ◽  
White Mountains ◽  
The Hours ◽  
The Right ◽  
The City ◽  
The Way

Mr. Chairman, Ladies and Gentlemen: A good many times today I have heard it said that we should emphasize in class those things that would interest the man in the street. I suppose that this is good doctrine. But if it is sound, it seems to me that our most important task is to find the right man in the street. Some years ago I succeeded in doing this to a marked degree here in Worcester. Between my sophomore and junior years in college I spent some time tramping in the White Mountains and on the way took the opportunity to see a little of New England. I had a very pleasant trolley trip starting from Hartford, including Springfield, Amherst, Northampton and ending here in Worcester. I had never been off the train in Worcester before and had only a few hours to stay. I knew nothing of the city except its population and the hours of a few departing trains. What should I see? What should T do? I went to the man in the street, the first policeman that I saw, and told him my plight. To my surprise he directed me to the Art Gallery. It was an unexpected answer but a very good one, for it is truly a gallery of which to be proud.

scholarly journals LANGUAGE CONSTITUENTS OF THE CONCEPT ‘WAY’ IN IRISH FAIRY TALES

2019 ◽  
Vol 20 (4) ◽  
pp. 20-29
Author(s):  
A. A. Zaraiskiy ◽  
O. L. Morova ◽  
V. Yu. Polyakova
Keyword(s):  
Information Content ◽  
Fairy Tales ◽  
Movement Trajectory ◽  
Cognitive Approach ◽  
The Road ◽  
The Core ◽  
Starting Point ◽  
Field Information ◽  
New Space ◽  
The Way

The aim of this article is to explore linguistic representation of the concept “way” in Irish fairy tales. Image, key lexeme, which is the core of the field, information content with its cognitive attributes and interpretation field, which is the periphery of the concept are elaborated. The results obtained show that the “way” in its direct and indirect meanings is the image and the key lexeme is “path”. It has been established that information content has seven cognitive attributes: exploration of new space, aim, distance, adventure, difficulties, destiny, and travel to afterlife world. Interpretation field includes two groups of proverbs with the first group presenting the “way” in its direct meaning and the second group comprising proverbs with the metaphorical usage of the “way”. Modelling the frame of the concept “way” allowed us to define the typical slots: subject of movement; the starting point of movement; trajectory; the environment of movement and the method of movement; locus; distance; driving power; and motivation. The concept “way” was structured using linguistic and cognitive approach, which made it possible to determine the image, information content and interpretation field. The study of the image of the concept revealed that “way” encompasses different aspects. The “way” is the basis of a person’s life. The “way” is considered not only as the road the person walks along covering big distances but as life in general that is associated with its ups and downs as well as with overcoming difficulties along the way. The idea emphasizes the importance of the “way” in people’s lives and culture, and specifically in Irish culture.

Active Perceptual Systems

2017 ◽  
pp. 95-97
Author(s):  
Joanna Zylinska
Keyword(s):  
Art Gallery ◽  
Image Capture ◽  
Human Element ◽  
Wearable Camera ◽  
Lecture Theatre ◽  
Perceptual Systems ◽  
The Universe ◽  
The Way ◽  
At Home

The images that make up the project presented here are very much part of “the technical universe of images” Flusser has identified in his book [Into the Universe of Technical Images]. They were taken over a period of two years with an automated “intelligent” wearable camera called the Autographer. The artist wore the camera in various everyday situations: on a city walk, in a holiday resort, in an art gallery, in a lecture theatre, at home. The machinic behaviour was nevertheless influenced by the way her body moved, enacting a form of immersive, corporeal perception that broke with the linearity of perspectival vision and its representationalist ambitions, while also retaining human involvement in the multiple acts of image capture. The human element was also foregrounded in the subsequent editing activities: Zylinska was faced with over 18,000 images from which she chose several dozen. Active Perceptual Systems thus raises the question of whether the creative photographer can be seen as first and foremost an editor: a Flusserian in-former who provides structure to the imagistic flow after the images have been taken. Keywords: algorithm, Autographer, editor, surveillance, technical image

Who Knows

2016 ◽  
Vol 60 (3) ◽  
pp. 2-2
Author(s):  
Tim Etchells
Keyword(s):  
Contemporary Art ◽  
Art Gallery ◽  
Simple Set ◽  
The Way

Who Knows (2014) is an installation comprising 12 pairs of colored neon phrases, modeled on the declension of the verb “to know” which moves though a simple set of variations and reversals. Like much of Etchells’s work Who Knows reveals a fascination with rules and systems in language and in culture, especially in the way these structures are both productive and constraining. The work’s repetition and recombination of individual phrases — “I know,” “You know,” “We know,” “They know”— produces a playful paranoia, nodding to the prescient topics of state and corporate surveillance, snooping and data-harvesting. Who Knows was first shown at Contemporary Art Gallery, Vancouver, as part of a collaboration with the PuSh Festival.

scholarly journals Effects of Local Gravity Compensation on Motor Control During Altered Environmental Gravity

2021 ◽  
Vol 15 ◽  
Author(s):  
Tjasa Kunavar ◽  
Marko Jamšek ◽  
Marie Barbiero ◽  
Gunnar Blohm ◽  
Daichi Nozaki ◽  
...  
Keyword(s):  
Environmental Changes ◽  
Parabolic Flight ◽  
Assistive Device ◽  
Movement Trajectory ◽  
Gravity Compensation ◽  
Movement Duration ◽  
Beneficial Effects ◽  
Local Gravity ◽  
Pointing Movements ◽  
Muscle Activations

Our sensorimotor control is well adapted to normogravity environment encountered on Earth and any change in gravity significantly disturbs our movement. In order to produce appropriate motor commands for aimed arm movements such as pointing or reaching, environmental changes have to be taken into account. This adaptation is crucial when performing successful movements during microgravity and hypergravity conditions. To mitigate the effects of changing gravitational levels, such as the changed movement duration and decreased accuracy, we explored the possible beneficial effects of gravity compensation on movement. Local gravity compensation was achieved using a motorized robotic device capable of applying precise forces to the subject’s wrist that generated a normogravity equivalent torque at the shoulder joint during periods of microgravity and hypergravity. The efficiency of the local gravity compensation was assessed with an experiment in which participants performed a series of pointing movements toward the target on a screen during a parabolic flight. We compared movement duration, accuracy, movement trajectory, and muscle activations of movements during periods of microgravity and hypergravity with conditions when local gravity compensation was provided. The use of local gravity compensation at the arm mitigated the changes in movement duration, accuracy, and muscle activity. Our results suggest that the use of such an assistive device helps with movements during unfamiliar environmental gravity.

The Effect of Educational Workshops in an Art Gallery on Children’s Evaluation and Interpretation of Contemporary Art

2018 ◽  
Vol 38 (2) ◽  
pp. 135-148 ◽  
Author(s):  
Magdalena Szubielska ◽  
Marta Ratomska ◽  
Marzena Wójtowicz ◽  
Anna Szymańska
Keyword(s):  
Cognitive Development ◽  
Contemporary Art ◽  
Older Children ◽  
Contextual Cues ◽  
Art Gallery ◽  
Different Ages ◽  
Esthetic Judgment ◽  
Preschool Aged Children ◽  
The Way

Our experiment, conducted in an art gallery, was designed to investigate how educational classes, provided for children of different ages, affect their (a) esthetic judgment and (b) interpretation of contemporary art. We found that curator-led tours and art workshops affected the ratings given by the youngest children (aged 4–5 years), while interpretation was influenced by contextual cues only in the case of older children (aged 6–7 and 8–9 years). In addition, in the control condition (uncued exhibition tour), the oldest children (aged 8–9 years) rated the artworks higher than the youngest children (4–5). We conclude that the deeper understanding of the context of art increases its attractiveness and may change the way in which artworks are interpreted. Our results suggest that cognitive development is not an indispensable requirement to appreciate art, as contextual cues provided to preschool-aged children substantially affect their esthetic assessment of contemporary art.

scholarly journals From Art Gallery to Movie Theatre: Spectatorship in Julian Rosefeldt’s Manifesto

2018 ◽  
Author(s):  
Hugo Ljungbäck
Keyword(s):  
Comparative Analysis ◽  
Media Studies ◽  
Video Installation ◽  
Art Gallery ◽  
Art Galleries ◽  
Feature Film ◽  
Film Exhibition ◽  
Movie Theatre ◽  
Experimental Films ◽  
The Way

Experimental films have historically had a contested and marginalized position within film exhibition. With his Manifesto (2015), which has been exhibited both as a video installation in art galleries and as a feature film in movie theatres, Julian Rosefeldt collapsed the barriers between these exhibition spaces. By performing a comparative analysis of Manifesto in both forms, this article outlines the way spectators behave differently in the theatre and the gallery, the different demands the work makes on the viewer in each venue, and the difficulties of transforming the work from one form to another. By asking what is lost and what is gained, this article explores how the text, form, and venue function differently, to reveal underlying assumptions about spectatorship. Article received: December 31, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Ljungbäck, Hugo. "From Art Gallery to Movie Theatre: Spectatorship in Julian Rosefeldt’s Manifesto." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.237

scholarly journals The aesthetic experience of critical art: The effects of the context of an art gallery and the way of providing curatorial information

PLoS ONE ◽  
2021 ◽  
Vol 16 (5) ◽  
pp. e0250924
Author(s):  
Magdalena Szubielska ◽  
Kamil Imbir
Keyword(s):  
Aesthetic Experience ◽  
Contextual Information ◽  
Emotional Reactions ◽  
Laboratory Setting ◽  
Art Gallery ◽  
Situational Context ◽  
Political Issues ◽  
The Aesthetic ◽  
Subjective Significance ◽  
The Way

The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one’s own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions–in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements–in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience–which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.

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