The Paradox of “Action and Doing-Nothingness” in Korean Abstract Painting of the 1970s: Lee Il’s “Pannaturalism” and Park Seobo’s “Doing-nothingness”

2021 ◽  
Vol 54 ◽  
pp. 233-252
Author(s):  
Phil Lee
Keyword(s):  
Abstract Painting

Mathematics of Geometry in Abstract Painting (Continued)

Leonardo ◽  
1973 ◽  
Vol 6 (4) ◽  
pp. 381
Author(s):  
Crockett Johnson ◽  
Michael Holt
Keyword(s):  
Abstract Painting

scholarly journals ¿Elicita emociones a pintura abstracta? / Can abstract painting elicit emotions?

2018 ◽  
Vol 5 (2) ◽  
pp. 53-60
Author(s):  
Isabel De la Cuétara San Luis ◽  
Concepción San Luis Costas
Keyword(s):  
Real World ◽  
Abstract Painting ◽  
The Real ◽  
Empirical Methodology ◽  
Selection Of

ABSTRACTThe objective of this research is to verify, by an empirical methodology, the existence of an emotion that we have called aesthetics using for it paintings by Kandinsky. The selection of abstract works as stimuli is determined by the fact that they are the formal elements (shape, colour, lines) what constitutes the composition of the works in which there is no reference evocative, as they have no visual references of the real world. Our results indicate that the stimuli used cause alterations in the psychogalvanic response indicates there has been an emotion developed in line with the proposals by James.RESUMENEl objetivo de esta investigación es comprobar, mediante una metodología empírica, la existencia de una emoción que hemos denominado estética, empleando para ello obras de Kandinsky. La selección de obras abstractas como estímulos viene determinada por el hecho de que son los elementos formales (forma, color, líneas) los que constituyen la composición de la obra en la que no hay referencia evocadora al carecer de referencias visuales del mundo real.  Nuestros resultados indican que los estímulos utilizados provocan alteraciones en la respuesta psicogalvánica, que indica que se ha producido una emoción elaborada en línea con las propuestas por James.

scholarly journals Perceptual category learning of photographic and painterly stimuli in rhesus macaques (Macaca mulatta) and humans

2016 ◽  
Author(s):  
Drew Altschul ◽  
Greg Jensen ◽  
Herbert S Terrace
Keyword(s):  
Comparative Studies ◽  
Rhesus Macaques ◽  
Visual Stimuli ◽  
Abstract Painting ◽  
Verbal Reports ◽  
Specific Order ◽  
Perceptual Category ◽  
Perceptual Category Learning ◽  
Linguistic Labels ◽  
Human Categorization

Humans are highly adept at categorizing visual stimuli, but studies of human categorization are typically validated by verbal reports. This makes it difficult to perform comparative studies of categorization using non-human animals. Interpretation of comparative studies is further complicated by the possibility that animal performance may merely reflect reinforcement learning, whereby discrete features act as discriminative cues for categorization. To assess and compare how humans and monkeys classified visual stimuli, we trained 7 rhesus macaques and 41 human volunteers to respond, in a specific order, to four simultaneously presented stimuli at a time, each belonging to a different perceptual category. These exemplars were drawn at random from large banks of images, such that the stimuli presented changed on every trial. Subjects nevertheless identified and ordered these changing stimuli correctly. Three monkeys learned to order naturalistic photographs; four others, close-up sections of paintings with distinctive styles. Humans learned to order both types of stimuli. All subjects classified stimuli at levels substantially greater than that predicted by chance or by feature-driven learning alone, even when stimuli changed one every trial. However, humans more closely resembled monkeys when classifying the more abstract painting stimuli than the photographic stimuli. This points to a common classification strategy in both species, once that humans can rely on in the absence of linguistic labels for categories.

The Black Scuare – from Alle to Malevich

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Alexander Gyoshev ◽  
Keyword(s):  
Contemporary Art ◽  
Cultural Context ◽  
White Background ◽  
Abstract Painting ◽  
Central Concern ◽  
French Writer ◽  
Adequate Understanding ◽  
Iconic Image ◽  
Dark Figure

The study observes some of the most important details hidden in Kazimir Malevich’s abstract painting “Black Square on a White Background” (1915). Of central concern for the more adequate understanding of this intriguing piece of art is the tracking of its supposed relationship with the work of Alfons Alle – French writer known for his extravagant style and ideas. The differences between Alle’s painting entitled “Negroes Fighting in a Cellar at Night” and Malevich’s composition, both sharing similar themes, are analyzed in their specific historical and cultural context. Finally, there is a hypothesis about “Black Square on a White Background” as a work marked with a psychological projection that unfolds itself through the dark figure of the square, as an iconic image that still has an impact on the contemporary art and may serve as a key to some symbols of the present.

Sign in / Sign up

Export Citation Format

Share Document