Experiments in Hybrid Documentary and Indigenous Model Animation

Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.

Simulazione incarnata, estetica e architettura: un approccio estetico sperimentale

This chapter, written by a cognitive neuroscientist and an architect, endeavors to suggest why and how cognitive neuroscience should investigate our relationship with aesthetics and architecture—framing this empirical approach as experimental aesthetics. The term experimental aesthetics specifically refers to the scientific investigation of the brain-body physiological correlates of the aesthetic experience of particular human symbolic expressions, such as works of art and architecture. The notion “aesthetics” is used here mainly in its bodily connotation, as it refers to the sensorimotor and affective aspects of our experience of these particular perceptual objects.

Applying Q-Methodology to Investigate People’ Preferences for Multivariate Stimuli

This article serves as a step-by-step guide of a new application of Q-methodology to investigate people’s preferences for multivariate stimuli. Q-methodology has been widely applied in fields such as sociology, education and political sciences but, despite its numerous advantages, it has not yet gained much attention from experimental psychologists. This may be due to the fact that psychologists examining preferences, often adopt stimuli resulting from a combination of characteristics from multiple variables, and in repeated measure designs. At present, Q methodology has not been adapted to accommodate. We therefore developed a novel analysis procedure allowing Q-methodology to handle these conditions. We propose a protocol requiring five analyses of a decision process to estimate: (1) the preference of stimuli, (2) the dominance of variables, (3) the individual differences, (4) the interaction between individual differences and preference, and (5) the interaction between individual differences and dominance. The guide comes with a script developed in R (R Core Team, 2020) to run the five analyses; furthermore, we provide a case study with a detailed description of the procedure and corresponding results. This guide is particularly beneficial to conduct and analyze experiments in any research on people’s preferences, such as experimental aesthetics, prototype testing, visual perception (e.g., judgments of similarity/dissimilarity to a model), etc.

The Role of Collative Variables in Aesthetic Experiences

Daniel Berlyne and his New Experimental Aesthetics have largely shaped the field since the 1970s by putting the study of collative variables related to stimulus features in the foreground, embedded in the context of motivation, arousal, and reward. Researchers from various fields have extensively studied the role of novelty, surprise, complexity, and ambiguity in aesthetic responses since then, employing a wide range of behavioral, computational, and neuroscientific methods. These studies have been conducted in different sensory and artistic domains, such as in music, literature, and the visual arts. The insights gained from these efforts are very promising from a broader theoretical perspective, and have opened up new avenues of research going beyond Berlyne’s psychobiological model of aesthetic response, leading to manifold applications in several practical fields.

The Curvature Effect

Preference for curved over sharp-angled contours is a well-known effect. However, it was quite unexplored during the 20th century and only a few sporadic studies dealt with it. Nevertheless, there has been renewed interest in this topic over the past two decades. This interest has come from two perspectives, one related to the current experimental aesthetics and the other from different applied approaches: marketing, packaging, interior design, and security perception, among others. Quite a few studies have demonstrated the effect with different stimuli, conditions, and participants. However, a comprehensive understanding of this effect is still lacking. We present the salient issues of the current studies in order to provide a more complete picture of this phenomenon. The applied research line is a promising field to combine with research from experimental aesthetics. Finally, we indicate a few challenges that experimental research should address to achieve a unified framework for a better understanding of the curvature effect.

The Curvature Effect

Preference for curved over sharp-angled contours is a well-known effect. However, it was quite unexplored during the 20th century and only a few sporadic studies dealt with it. Nevertheless, there has been renewed interest in this topic over the past two decades. This interest has come from two perspectives, one related to the current experimental aesthetics and the other from different applied approaches: marketing, packaging, interior design, and security perception, among others. Quite a few studies have demonstrated the effect with different stimuli, conditions, and participants. However, a comprehensive understanding of this effect is still lacking. We present the salient issues of the current studies in order to provide a more complete picture of this phenomenon. The applied research line is a promising field to combine with research from experimental aesthetics. Finally, we indicate a few challenges that experimental research should address to achieve a unified framework for a better understanding of the curvature effect.

Deadly Barks: Acousmaticity and Post-Animality in Lucrecia Martel's La ciénaga

Acousmatic sound is often defined as a sound whose source is unseen, that is, in terms of a separation between the senses of hearing and seeing. Discussions about the acousmatic have generally focused on the ontological relation between the sonic effect and the visually unavailable source that produces it. This article examines the function of acousmatic sound in Argentine auteur Lucrecia Martel's La ciénaga ( The Swamp, 2001), arguing that the film's distinctive employment of acousmatic sound and acousmatic listening constitutes a strategy of disruption, challenging the traditional concept of the “animal” – an ideological and oppressive notion produced by dominant Western philosophical discourse. My reading gives close attention to what seems to be the barking of an unseen dog and its effects on human listeners, contending that, as the semiotic stability of the figure of the dog gradually erodes within Martel's cinematic territory, listening to the canine voice becomes an unsettling sensory-cognitive experience; the sound of the barks presents an irresolvable epistemic problem. I draw on Jacques Derrida's late writings on nonhuman animals, borrowing the term animot, to argue that Martel's film brings into audibility an animality irreducible plural: an alterity exceeding logocentric economies of knowledge. The film's experimental aesthetics and construction of narrative, I suggest, are concerned with perceiving and making perception itself perceptible, while exposing the limits of human perception – impassable limits marked by an animality which gradually withstands conceptual domestication. Through its use of acousmatic listening, La ciénaga expands our perception of ecological ontology.

Looking, liking and locating: an experimental aesthetics of orienting

Memory for object location has been extensively studied, but little is known about the role of subjective evaluation of objects. We investigated how aesthetic experience could incidentally modulate memory of location. 96 participants (86 tested at science festivals, 10 at the laboratory) visited a virtual museum, not knowing they would later be tested on spatial memory. Afterwards, they reported how much they liked each painting, and located it on the museum map. Participants remembered better the location of paintings that created strong aesthetic experiences, whether positive or negative, suggesting an arousal effect. Liking a painting increased the ability to recall on which wall the painting was hung. Since recalling the wall requires recalling heading direction, this finding suggests positive aesthetic experience enhances first-person spatial representations. Aesthetic experience of stimuli can shape the cognitive map. These results may have implications for museum design.