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.