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Aesthetic Evaluation of Digitally Reproduced Art Images
Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict t...
Autores principales: | , , , , |
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Formato: | Online Artículo Texto |
Lenguaje: | English |
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Frontiers Media S.A.
2020
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Materias: | |
Acceso en línea: | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7759521/ https://www.ncbi.nlm.nih.gov/pubmed/33362676 http://dx.doi.org/10.3389/fpsyg.2020.615575 |
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author | Reymond, Claire Pelowski, Matthew Opwis, Klaus Takala, Tapio Mekler, Elisa D. |
author_facet | Reymond, Claire Pelowski, Matthew Opwis, Klaus Takala, Tapio Mekler, Elisa D. |
author_sort | Reymond, Claire |
collection | PubMed |
description | Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. |
format | Online Article Text |
id | pubmed-7759521 |
institution | National Center for Biotechnology Information |
language | English |
publishDate | 2020 |
publisher | Frontiers Media S.A. |
record_format | MEDLINE/PubMed |
spelling | pubmed-77595212020-12-26 Aesthetic Evaluation of Digitally Reproduced Art Images Reymond, Claire Pelowski, Matthew Opwis, Klaus Takala, Tapio Mekler, Elisa D. Front Psychol Psychology Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. Frontiers Media S.A. 2020-12-11 /pmc/articles/PMC7759521/ /pubmed/33362676 http://dx.doi.org/10.3389/fpsyg.2020.615575 Text en Copyright © 2020 Reymond, Pelowski, Opwis, Takala and Mekler. 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(s) 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 | Psychology Reymond, Claire Pelowski, Matthew Opwis, Klaus Takala, Tapio Mekler, Elisa D. Aesthetic Evaluation of Digitally Reproduced Art Images |
title | Aesthetic Evaluation of Digitally Reproduced Art Images |
title_full | Aesthetic Evaluation of Digitally Reproduced Art Images |
title_fullStr | Aesthetic Evaluation of Digitally Reproduced Art Images |
title_full_unstemmed | Aesthetic Evaluation of Digitally Reproduced Art Images |
title_short | Aesthetic Evaluation of Digitally Reproduced Art Images |
title_sort | aesthetic evaluation of digitally reproduced art images |
topic | Psychology |
url | https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7759521/ https://www.ncbi.nlm.nih.gov/pubmed/33362676 http://dx.doi.org/10.3389/fpsyg.2020.615575 |
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