scholarly journals Aesthetic preference of object position on pictures

Psihologija ◽  
2003 ◽  
Vol 36 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Oliver Toskovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
Golden Section ◽  
Aesthetic Preference ◽  
Golden Rectangle ◽  
Black Circle ◽  
Different Shapes ◽  
The Aesthetic ◽  
The Right ◽  
The Given ◽  
Optimal Effect

In this study three hypothesis were evaluated. The first claims that the golden section position is an ideal position of an object on a picture and that this position does not depend on picture shape, or on the number of objects on it. According to the second hypothesis, the aesthetically optimal effect is achieved when the focus is on the right side of the picture ( for asymmetrically composed pictures). According to the third hypothesis, there is an influence of previous stimulation on aesthetic experience; that is, because of the monotony, the aesthetic preference of observers will change. An experiment was done, with two sections. In the first section, subjects were asked to put a little black circle, on three different shapes of cards (square, golden rectangle and rectangle), in a such way that the given configuration is the most beautiful one in their own opinion. The second section of the experiment was almost identical to the first one, with the exception that the subjects were asked to put two circles on each of the cards. Each one of the three hypothesis was confirmed by the results of this experiment. The preferred position of the circle is the same as the position of the golden section and it does not change with the change of card shape and number of objects. There is a clear preference of the upper-right corner of cards. The preferred position of an object is changed with repetition of the same stimulation (the same shape of cards and the same number of circles).

scholarly journals Stability of aesthetic preference of object position on pictures

Psihologija ◽  
2004 ◽  
Vol 37 (4) ◽  
pp. 507-525
Author(s):  
Oliver Toskovic
Keyword(s):  
Golden Section ◽  
Aesthetic Preference ◽  
Object Position ◽  
Golden Rectangle ◽  
Different Shapes

The aim of this work is is to give answers to question is aesthetic preference of object position on pictures stabile, or is there a change of aesthetic preference with increase of number of objects and with the change of picture orientation (horizontal-vertical). In conducted experiments subjects had a task to put one, two or three circles on three different shapes of backgrounds (square, golden rectangle, rectangle), in such way that given configuration is the most beautiful one in their own opinion. In some experiments backgrounds were observed horizontaly, and in other verticaly. When the backgrounds were horizontal, aesthetic preference of golden section position did not change with increase of the number of circles. When the backgrounds were vertical golden section position was prefered one in cases with one and two circles, while in the experiment with three circles aesthetic preference of golden section position decreased. In most situations circles were ordered on backgrounds in such way to balance each other. Distance between two circles on same shapes of backgrounds, on repeated situations, is relativly constant in both orientations of backgrounds.

scholarly journals Effects of creativity on aesthetic experience7

Psihologija ◽  
2017 ◽  
Vol 50 (3) ◽  
pp. 319-339
Author(s):  
Ivan Stojilovic
Keyword(s):  
Regression Analysis ◽  
Random Effects ◽  
Exploratory Study ◽  
Aesthetic Experience ◽  
The Other ◽  
Creative Activity ◽  
Multilevel Regression ◽  
Aesthetic Preference ◽  
Crossed Random Effects ◽  
The Aesthetic

It is often neglected that the experience of artwork is a creative act, and one which requires the audience to be creative. This exploratory study aimed to examine whether creative activity and measures of pe rson`s creativity are correlated with the aesthetic experience of paintings. Eighty-two participants rated 21 paintings, including 7 figural traditional paintings, 7 semi-abstract works, and 7 abstract works. Participants were randomly assigned to one of two experimental groups. One group first created collages and then rated the paintings on five aesthetic preference scales, while the other group first rated the paintings and then created collages. Multilevel regression analysis with two crossed random effects (participants and paintings) was used. Results showed that performing a creative activity prior to rating artwork positively influenced ratings of artwork creativity. In addition, collage creativity was positively correlated with ratings of (semi)abstract paintings as beautiful. It is hypothesized that people become more open to new, unusual experiences, are more flexible and act more freely in their decisions when performing a creative activity, which reflects positively on stronger preferences of paintings.

scholarly journals The Neural Determinants of Beauty

2021 ◽  
Author(s):  
Taoxi Yang ◽  
Arusu Formuli ◽  
Marco Paolini ◽  
Semir Zeki
Keyword(s):  
Aesthetic Experience ◽  
Interaction Analysis ◽  
Univariate Analysis ◽  
Neural Basis ◽  
Brain Areas ◽  
Face Area ◽  
Facial Beauty ◽  
Psychophysiological Interaction ◽  
The Aesthetic ◽  
The Right

What are the conditions that determine whether the medial orbito-frontal cortex (mOFC), in which activity correlates with the experience of beauty derived from different sources, becomes co-active with sensory areas of the brain during the experience of sensory beauty? We addressed this question by studying the neural determinants of facial beauty. The perception of faces correlates with activity in a number of brain areas, but only when a face is perceived as beautiful is the mOFC also engaged. The enquiry thus revolved around the question of whether a particular pattern of activity, within or between areas implicated in face perception, emerges when a face is perceived as beautiful, and which determines that there is, as a correlate, activity in mOFC. 17 subjects of both genders viewed and rated facial stimuli according to how beautiful they perceived them to be while the activity in their brains was imaged with functional magnetic resonance imaging (fMRI). A univariate analysis revealed parametrically scaled activity within several areas in which the strength of activity correlated with the declared intensity of the aesthetic experience of faces; the list included the mOFC and two core areas strongly implicated in the perception of faces - the occipital face area (OFA), fusiform face area (FFA)- and, additionally, the cuneus. Multivariate analyses, which reveal the more fine-grained distribution of activity in brain areas, revealed strong and distinctive patterns of activation in the FFA and the cuneus and weaker ones in the OFA and posterior superior temporal sulcus (pSTS). It is only when distinctive patterns emerged in these areas that there was co-activation of the mOFC, in which a strong pattern of activity also emerged during the experience of facial beauty. A psychophysiological interaction analysis with mOFC as the seed area revealed the involvement of the right FFA and the right OFA, but only when faces were experienced as beautiful. We conjecture that these collective patterns of activity constitute the neural basis for the experience of facial beauty, bringing us a step closer to understanding the neural determinants of aesthetic experience.

The Golden Section and the Shape of Objects

1997 ◽  
Vol 15 (2) ◽  
pp. 131-141 ◽  
Author(s):  
Frans Boselie
Keyword(s):  
Golden Section ◽  
Aesthetic Value ◽  
Aesthetic Quality ◽  
Golden Rectangle ◽  
Different Shapes ◽  
The Way

Though the claim that the golden section has special aesthetic value is a very general one, till now it has been tested only for a very small number of different shapes, most research being restricted to the golden rectangle. An experiment is reported in which the way golden ratios are implemented in sides of objects is varied, producing a variety of shapes. It was found that the golden section does not have a special aesthetic quality as compared to the ratio 1.8.

scholarly journals Aesthetics as politics: Reflections on an architecture of dissensus

2015 ◽  
Vol 7 (2) ◽  
pp. 113-122
Author(s):  
Helen Tatla
Keyword(s):  
Urban Environment ◽  
Social Order ◽  
Aesthetic Experience ◽  
Aesthetic Education ◽  
Everyday Experience ◽  
Identification Process ◽  
Political Effect ◽  
The Aesthetic ◽  
Definition Of ◽  
The Given

Contributing to the debate for a democratic articulation of the urban environment, this paper focuses on the reinterpretation of the relation between thinking and perception in Kant's Second Moment of the Analytic of the Beautiful, by Jacques Rancière. Rancière argues that the dissensual operation implied in Kant's definition of the beautiful involves a superimposition that transforms the given form or body to a new one. Social emancipation for Rancière becomes an aesthetic matter, a matter of dismemberment of a body animated by a particular belief. When the loss of destination implicit in aesthetic experience, as explained by Rancière, disrupts the way in which bodies fit their functions in a social order, then a political effect is produced. The aesthetic effect presupposes dis-identification. Within the aesthetic community, political subjectivisation is based on a dis-identification process. Furthermore, reconsideration of modernity for Rancière means going back to Schiller's idea of the aesthetic education of man which originated in Kant's Analytic of the Beautiful. We can argue with reference to an architecture of dissensus that through a process of dislocation, dismemberment and dis-identification, tradition opens up to a constant transformation to something new, involved in a never-ending play between totally different layers that make up everyday experience.

Consistency in the Expression of Aesthetic Preference in Line Partitioning

1997 ◽  
Vol 84 (3_suppl) ◽  
pp. 1151-1154
Author(s):  
W. D. K. Macrosson ◽  
G. C. Strachan
Keyword(s):  
Golden Section ◽  
Aesthetic Preference ◽  
Line Segments ◽  
Aesthetic Properties ◽  
Experimental Subjects ◽  
The Aesthetic

In experimental enquiries into the aesthetic properties of the golden section, investigators have tended to employ tests which either require the subjects to generate an artifact or require the subjects to choose between artifacts shown to them. These researchers have assumed that the findings from each type of test are equally valid. This assumption was investigated and shown to be tenable for the partitioning of line segments. Experimental subjects ( N=57) expressed an aesthetic preference for the same line partitioning ratios irrespective of the type of test employed.

Jazz als gelungene Performance – Ästhetische Normativität und Improvisation

2014 ◽  
Vol 59 (1) ◽  
pp. 105-140 ◽  
Author(s):  
Alessandro Bertinetto
Keyword(s):  
Successful Performance ◽  
The Aesthetic ◽  
The Right

Die Hauptfrage, die ich in diesem Aufsatz diskutieren will, ist die folgende: Welche sind die ästhetisch-normativen Voraussetzungen für das richtige Verständnis und die richtige Evaluation von Jazz? Meine These lautet: Die Jazzästhetik ist eine Ästhetik der gelungenen Performanz. Sie ist nicht eine Ästhetik der Unvollkommenheit. Ich werde meine Argumentation in die folgenden Abschnitte gliedern. Nach der Einleitung (I.) wird in Abschnitt II. die ›These der Unvollkommenheit‹ dargestellt und in III. werden anschließend einige Argumente dagegen diskutiert. In den Abschnitten IV. und V. werden die für die Jazzästhetik wichtige Frage nach dem »Fehler« und das entscheidende Thema der Normativität untersucht. Dazu werde ich geltend machen, dass die ›These der Unvollkommenheit‹ insbesondere deswegen unbefriedigend ist, weil sie die spezifische Normativität von Jazz als Improvisationskunst missversteht. In Abschnitt VI. wird schließlich erklärt, in welchem Sinne von einer Normativität der gelungenen Performanz die Rede sein kann und warum dies für unser Verständnis von Jazz bedeutend ist. Abschließend (VII.) wird diese Idee gegen mögliche Einwände verteidigt.<br><br>In this paper I aim at discussing the aesthetic-normative conditions for the right understanding and the right evaluation of jazz. My main point is this: The aesthetics of jazz is an aesthetics of the successful performance, rather than an aesthetics of imperfection. The paper will be structured as follows. SectionI introduces the topic. SectionII presents the ›imperfection thesis‹, while III discusses some arguments against it. Sections IV and V investigate two related questions: the first is about the role of the »mistake« in jazz; the second concerns the crucial topic of normativity. At this regard I will maintain that the ›imperfection thesis‹ does not work, especially because it misunderstands the specific normativity of jazz as improvisational art. Section VI is devoted to clarifying both in which sense the idea of a normativity of the successful performance is sound and why this idea is important for understanding jazz. Finally (VII) I defend this view against possible objections.

Semi Automatic T-Shirt Folding Machine Berbasis PID (Proportional Integral Derivative)

2020 ◽  
Vol 2 (1) ◽  
Author(s):  
Muhammad Apriliyanto ◽  
Miftachul Ulum ◽  
Koko Joni
Keyword(s):  
Ultrasonic Sensor ◽  
Proportional Integral Derivative ◽  
Servo Motor ◽  
Aesthetic Value ◽  
Proportional Integral ◽  
Door Opening ◽  
Dc Motors ◽  
The Aesthetic ◽  
The Right

<em>The process of folding clothes is one of the activities carried out in the laundry business or household. The activity is fairly easy but many people are still lazy to do it. As a result, clothes that have been washed will fall apart in certain rooms, thereby reducing the aesthetic value of a home. Semi Automatic T-Shirt Folding Machine is the right solution to make folding clothes easier and more time efficient. This tool is equipped with a servo motor that moves the folding board that has been designed in such a way that the user only needs to manghandle the shirt just once and simply push one button then the shirt will fold itself and will be neatly arranged through the clothes stacker board. The PID method is applied to DC motors that move under the clothes folder so that the buildup of clothes underneath will not be pressured upward when the clothes are piled up when they are folded. Ultrasonic sensor will measure the right height between the clothes with the door opening the stacking clothes with kp = 1, ki = 0.1, kd = 0.5 for thin clothes and kp = 5, ki = 1, kd = 2.5 for thick clothes so that the movement of the motor can adjust its speed . This tool can fold one shirt in 16.83 seconds 11 seconds faster than folding clothes manually</em>

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

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