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Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists
Through the manipulation of color and form, visual abstract art is often used to convey feelings and emotions. Here, we explored how colors and lines are used to express basic emotions and whether non-artists express emotions through art in similar ways as trained artists. Both artists and non-artis...
Autores principales: | , , , , , , , |
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Formato: | Online Artículo Texto |
Lenguaje: | English |
Publicado: |
The Association for Research in Vision and Ophthalmology
2023
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Materias: | |
Acceso en línea: | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10080919/ https://www.ncbi.nlm.nih.gov/pubmed/37010831 http://dx.doi.org/10.1167/jov.23.4.1 |
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author | Damiano, Claudia Gayen, Pinaki Rezanejad, Morteza Banerjee, Archi Banik, Gobinda Patnaik, Priyadarshi Wagemans, Johan Walther, Dirk B. |
author_facet | Damiano, Claudia Gayen, Pinaki Rezanejad, Morteza Banerjee, Archi Banik, Gobinda Patnaik, Priyadarshi Wagemans, Johan Walther, Dirk B. |
author_sort | Damiano, Claudia |
collection | PubMed |
description | Through the manipulation of color and form, visual abstract art is often used to convey feelings and emotions. Here, we explored how colors and lines are used to express basic emotions and whether non-artists express emotions through art in similar ways as trained artists. Both artists and non-artists created abstract color drawings and line drawings depicting six emotions (i.e., anger, disgust, fear, joy, sadness, and wonder). To test whether people represented basic emotions in similar ways, we computationally predicted the emotion of a given drawing by comparing it to a set of references created by averaging across all other participants’ drawings within each emotion category. We found that prediction accuracy was higher for color drawings than line drawings and higher for color drawings by non-artists than by artists. In a behavioral experiment, we found that people (N = 242) could also accurately infer emotions, showing the same pattern of results as our computational predictions. Further computational analyses of the drawings revealed systematic use of certain colors and line features to depict each basic emotion (e.g., anger is generally redder and more densely drawn than other emotions, sadness is more blue and contains more vertical lines). Taken together, these results imply that abstract color and line drawings are able to convey certain emotions based on their visual features, which are also used by human observers to understand the intended emotional connotation of abstract artworks. |
format | Online Article Text |
id | pubmed-10080919 |
institution | National Center for Biotechnology Information |
language | English |
publishDate | 2023 |
publisher | The Association for Research in Vision and Ophthalmology |
record_format | MEDLINE/PubMed |
spelling | pubmed-100809192023-04-08 Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists Damiano, Claudia Gayen, Pinaki Rezanejad, Morteza Banerjee, Archi Banik, Gobinda Patnaik, Priyadarshi Wagemans, Johan Walther, Dirk B. J Vis Article Through the manipulation of color and form, visual abstract art is often used to convey feelings and emotions. Here, we explored how colors and lines are used to express basic emotions and whether non-artists express emotions through art in similar ways as trained artists. Both artists and non-artists created abstract color drawings and line drawings depicting six emotions (i.e., anger, disgust, fear, joy, sadness, and wonder). To test whether people represented basic emotions in similar ways, we computationally predicted the emotion of a given drawing by comparing it to a set of references created by averaging across all other participants’ drawings within each emotion category. We found that prediction accuracy was higher for color drawings than line drawings and higher for color drawings by non-artists than by artists. In a behavioral experiment, we found that people (N = 242) could also accurately infer emotions, showing the same pattern of results as our computational predictions. Further computational analyses of the drawings revealed systematic use of certain colors and line features to depict each basic emotion (e.g., anger is generally redder and more densely drawn than other emotions, sadness is more blue and contains more vertical lines). Taken together, these results imply that abstract color and line drawings are able to convey certain emotions based on their visual features, which are also used by human observers to understand the intended emotional connotation of abstract artworks. The Association for Research in Vision and Ophthalmology 2023-04-03 /pmc/articles/PMC10080919/ /pubmed/37010831 http://dx.doi.org/10.1167/jov.23.4.1 Text en Copyright 2023 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. |
spellingShingle | Article Damiano, Claudia Gayen, Pinaki Rezanejad, Morteza Banerjee, Archi Banik, Gobinda Patnaik, Priyadarshi Wagemans, Johan Walther, Dirk B. Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title | Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title_full | Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title_fullStr | Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title_full_unstemmed | Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title_short | Anger is red, sadness is blue: Emotion depictions in abstract visual art by artists and non-artists |
title_sort | anger is red, sadness is blue: emotion depictions in abstract visual art by artists and non-artists |
topic | Article |
url | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10080919/ https://www.ncbi.nlm.nih.gov/pubmed/37010831 http://dx.doi.org/10.1167/jov.23.4.1 |
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