![]() In this essay I argue that the philosophies of Kupka and Husserl are largely compatible. When externalizing these visions directly on the canvas or sheets of paper, the practitioners of abstract art have inadvertently used the phenomenological method and its epoché. Instead of copying them, they have merely relied on their inner visions. To attain purely aesthetic goals, many avant-garde artists turned painting in particular into a pursuit of breaking off the relations with natural forms. Since the beginning of the twentieth century, abstract art has formed a central stream of modern art. The comments of artists and critics, and experimental results support the theory. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. It also explains the mental processes underlying these emotions. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. The differences between studies are discussed.Ībstract Some people feel emotions when they look at abstract art. The results differ from those obtained by Leder et al. However, expertise differentially affected liking and understanding. ![]() Overall, the results suggest that both novices and experts integrate title with visual image in similar manner. An analysis of viewers’ art expertise revealed that expertise was correlated with understanding, but not liking. ![]() However, experts’ rated understanding was higher than novices, with experts making their decisions faster than novices. For judgments of understanding, type of title had no effect on ratings for both novices and experts. For judgments of liking, novices and experts both liked artworks with elaborative titles better, with overall rated liking similar for both groups. Viewers were allotted as much time as they wished to view each artwork. The type of title accompanying the artwork (descriptive or elaborative) was manipulated. Viewers rated a set of abstract paintings for liking and understanding. The study was designed to test assumptions about how expertise modulates context in the form of titles for artworks. The study extended the research of Leder, Carbon, and Ripsas by explicitly selecting art novices and art experts. The effect of art expertise on viewers’ processing of titled visual artwork was examined.
0 Comments
Leave a Reply. |