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Eye Movement Correlates of Expertise in Visual Arts

The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the...

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Autores principales: Francuz, Piotr, Zaniewski, Iwo, Augustynowicz, Paweł, Kopiś, Natalia, Jankowski, Tomasz
Formato: Online Artículo Texto
Lenguaje:English
Publicado: Frontiers Media S.A. 2018
Materias:
Acceso en línea:https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5879988/
https://www.ncbi.nlm.nih.gov/pubmed/29632478
http://dx.doi.org/10.3389/fnhum.2018.00087
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author Francuz, Piotr
Zaniewski, Iwo
Augustynowicz, Paweł
Kopiś, Natalia
Jankowski, Tomasz
author_facet Francuz, Piotr
Zaniewski, Iwo
Augustynowicz, Paweł
Kopiś, Natalia
Jankowski, Tomasz
author_sort Francuz, Piotr
collection PubMed
description The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.
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spelling pubmed-58799882018-04-09 Eye Movement Correlates of Expertise in Visual Arts Francuz, Piotr Zaniewski, Iwo Augustynowicz, Paweł Kopiś, Natalia Jankowski, Tomasz Front Hum Neurosci Neuroscience The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement. Frontiers Media S.A. 2018-03-26 /pmc/articles/PMC5879988/ /pubmed/29632478 http://dx.doi.org/10.3389/fnhum.2018.00087 Text en Copyright © 2018 Francuz, Zaniewski, Augustynowicz, Kopiś and Jankowski. http://creativecommons.org/licenses/by/4.0/ This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) and the copyright owner are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.
spellingShingle Neuroscience
Francuz, Piotr
Zaniewski, Iwo
Augustynowicz, Paweł
Kopiś, Natalia
Jankowski, Tomasz
Eye Movement Correlates of Expertise in Visual Arts
title Eye Movement Correlates of Expertise in Visual Arts
title_full Eye Movement Correlates of Expertise in Visual Arts
title_fullStr Eye Movement Correlates of Expertise in Visual Arts
title_full_unstemmed Eye Movement Correlates of Expertise in Visual Arts
title_short Eye Movement Correlates of Expertise in Visual Arts
title_sort eye movement correlates of expertise in visual arts
topic Neuroscience
url https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5879988/
https://www.ncbi.nlm.nih.gov/pubmed/29632478
http://dx.doi.org/10.3389/fnhum.2018.00087
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