Eye movement instructions modulate motion illusion and body sway with Op Art.

Op Art generates illusory visual motion. It has been proposed that eye movements participate in such illusion. This study examined the effect of eye movement instructions (fixation vs. free exploration) on the sensation of motion as well as the body sway of subjects viewing Op Art paintings. Twenty-eight healthy adults in orthostatic stance were successively exposed to three visual stimuli consisting of one figure representing a cross (baseline condition) and two Op Art paintings providing sense of motion in depth-Bridget Riley's Movements in Squares and Akiyoshi Kitaoka's Rollers. Before their exposure to the Op Art images, participants were instructed either to fixate at the center of the image (fixation condition) or to explore the artwork (free viewing condition). Posture was measured for 30 s per condition using a body fixed sensor (accelerometer). The major finding of this study is that the two Op Art paintings induced a larger antero-posterior body sway both in terms of speed and displacement and an increased motion illusion in the free viewing condition as compared to the fixation condition. For body sway, this effect was significant for the Riley painting, while for motion illusion this effect was significant for Kitaoka's image. These results are attributed to macro-saccades presumably occurring under free viewing instructions, and most likely to the small vergence drifts during fixations following the saccades; such movements in interaction with visual properties of each image would increase either the illusory motion sensation or the antero-posterior body sway.

Neatness counts. How plating affects liking for the taste of food.

Two studies investigated the effect that the arrangement of food on a plate has on liking for the flavor of the food. Food presented in a neatly arranged presentation is liked more than the same food presented in a messy manner. A third study found that subjects expected to like the food in the neat presentations more than in the messy ones and would be willing to pay more for them. They also indicated that the food in the neat presentations came from a higher quality restaurant and that more care was taken with its preparation than the food in the messy presentations. Only the animal-based food was judged as being more contaminated when presented in a messy rather than a neat way. Neatness of the food presentation increases liking for the taste of the food by suggesting greater care on the part of the preparer. Two mechanisms by which greater care might increase liking are discussed.

Contemporary experimental aesthetics: State of the art technology.

The purpose of this essay is to provide the reader with a brief overview of several recent person-artifact-context relational models that explain the complex interaction of the processes that underlie an ongoing aesthetic experience with visual art forms. Recent progress towards a comprehensive understanding of these processes has been made possible in large part by experimental approaches that take advantage of recent advances in computer technology and electronic sophistication. To illustrate this point, three experimental techniques at the forefront of the field of experimental aesthetics are highlighted here. They include the investigation of viewers- body postural adjustments to depicted pictorial depth and movement in paintings; the use of hand-held computers known as personal data assistants to record audience members- on-going emotional reactions to live performances of dance; and the contribution of audio tour information to museum visitors- interaction with and aesthetic evaluation of sculptures and paintings. Finally, the eMotion: Mapping Museum Experience project, which has the potential to make a tremendous contribution to the understanding of the complex interaction of factors that contribute to a museum visitor's experience, is described.

Visual interest in pictorial art during an aesthetic experience.

Two experiments were performed during which adults untrained in the visual arts were shown digital versions of eight paintings by renowned artists. In Experiment 1 participants' written reactions following a single 100 ms glance at each work were found to overwhelmingly reflect an initial holistic impression (i.e. gist) of the structural arrangement and semantic meaning of the paintings. In the second experiment participants' eye movements and verbal reactions were recorded as they evaluated each reproduction for pleasingness. Analyses reveal the relationships between the content and structural organization of the art stimuli and the way viewers select, process and think about information contained in paintings across the time course of an aesthetic experience. The results are interpreted in terms of an information-processing stage model of visual aesthetics according to which perceptual-cognitive processing of an art stimulus begins with the rapid generation of a gist reaction followed by scrutiny of pictorial features directed in a top-down fashion by cognitively-based evaluative processes.

Spatial balance of color triads in the abstract art of Piet Mondrian.

We examined the interactive contribution of the color and size of the three areas occupied by the primary colors red, yellow, and blue in adaptations of abstract compositions by Mondrian to the perceived weight of the areas and the location of the balance centers of the compositions. Thirty-six art stimuli were created by experimentally changing the colors in the three areas of six original works so that the resulting five variations and the original constituted the six possible spatial arrangements of the three colors in the three locations. In experiment 1, design-trained and untrained participants determined the location of the balance center of each composition seen on a computer screen and rated the apparent weight or heaviness of each color area. In experiment 2, untrained participants determined the location of the balance centers of the compositions when projected to their actual size. It was found that, for both trained and untrained participants, the perceived weight of a color, especially red and yellow, varied as a function of the size of the area it occupied. Furthermore, participants in both experiments perceived shifts in the locations of the balance centers between the originals and their altered versions. Only the trained participants, however, perceived significant shifts in balance centers among the five variations of the compositions, demonstrating their superior sensitivity to the contribution of color to balance structure. Taken together, the findings demonstrate the existence of a color-area-weight relationship among color triads in abstract displays and the influence of this relationship on color balance in abstract compositions.

An empirical investigation of the visual rightness theory of picture perception.

This research subjected the visual rightness theory of picture perception to experimental scrutiny. It investigated the ability of adults untrained in the visual arts to discriminate between reproductions of original abstract and representational paintings by renowned artists from two experimentally manipulated less well-organized versions of each art stimulus. Perturbed stimuli contained either minor or major disruptions in the originals' principal structural networks. It was found that participants were significantly more successful in discriminating between originals and their highly altered, but not slightly altered, perturbation than expected by chance. Accuracy of detection was found to be a function of style of painting and a viewer's way of thinking about a work as determined from their verbal reactions to it. Specifically, hit rates for originals were highest for abstract works when participants focused on their compositional style and form and highest for representational works when their content and realism were the focus of attention. Findings support the view that visually right (i.e., "good") compositions have efficient structural organizations that are visually salient to viewers who lack formal training in the visual arts.

Factors contributing to the implicit dynamic quality of static abstract designs.

Participants rated the dynamic quality of a set of twelve-element nonrepresentational or abstract visual designs each composed of one of four types of triangles or four types of quadrilaterals. We investigated the contribution to the perceived or implicit dynamics of the design of the four factors edge alignment of compositional elements, physical weight distribution about the horizontal axis, activity directions within the designs, and type of compositional element. It was found that edge alignment of elements was the most influential factor contributing to the dynamics both of triangle and of quadrilateral designs. In addition, dynamics was found to be positively correlated with the number of perceived activity directions within both types of stimuli. Triangle designs, but not quadrilateral ones, with greater structural weight above the horizontal axis were rated as more dynamic. Results suggest that implicit dynamics of nonrepresentational designs arises from a percept based on a global spatial analysis of the stimulus characteristics studied.