2020 January - 15 articles
There is no visual art without the eye, just like no music without the ear. Visual art does not happen in the eye, but it has to go through the eye. Even for artworks with little visual focus, as in Conceptual Art, we need eyes to create and receive...
The current study, set within the larger enterprise of Neuro-Cognitive Poetics, was designed to examine how readers deal with the ‘cut’—a more or less sharp semantic-conceptual break—in normative, three-line English-language haiku poems (ELH). Reader...
Eye-tracking technology is increasingly introduced in museums to assess their role in learning and knowledge transfer. However, their use provide limited quantitative and/or qualitative measures such as viewing time and/or gaze trajectory on an isola...
In 1935 Guy Buswell, an educational psychologist at Chicago University, published How People Look at Pictures. In it he recorded photographically the eye movements of 200 observers when looking at a wide variety of pictures. He analysed the overall d...
Classifying artists and their work as distinct art styles has been an important task of scholars in the field of art history. Due to its subjectivity, scholars often contradict one another. Our project investigated differences in aesthetic qualities...
There is increasing awareness that the perception of art is affected by the way it is presented. In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewi...
Within art literature, there is a centuries-old assumption that the eye follows the lines set out by the composition of a painting. However, recent empirical findings suggest that this may not be true. This study investigates beholders’ saccadic eye...
Among the most renowned painters of the early twentieth century, Gustav Klimt is often associated—by experts and laymen alike—with a distinctive style of representation: the visual juxtaposition of realistic features and flattened ornamental patterns...
At the threshold of the digital era, Zuzana Licko was of the opinion that familiar letterforms owe legibility to centuries-long exposure and that all new, prototypically unmatching forms would be equally legible if used as frequently. This paper exam...
Eye tracking research in art viewership is often conducted in a laboratory setting where reproductions must be used in place of original art works and the viewing environment is less natural than in a museum. Recent technological developments have ma...
The present eye-tracking study investigated how audio explanations influence perception and the cognitive processing of historical paintings. Spatially close and distant pairs of picture elements and their semantic relations were named in an audio te...
In art schools and classes for art history students are trained to pay attention to different aspects of an artwork, such as art movement characteristics and painting techniques. Experts are better at processing style and visual features of an artwor...
Viewing artworks may be subject to the same processes as everyday scene selection in respect of gaze behaviour. However, artists may employ carefully constructed composition in their paintings to lead the eyes of viewers along a predetermined path. T...
In our exploratory study, we ask how naive observers, without a distinct religious background, approach biblical art that combines image and text. For this purpose, we choose the book ‘New biblical figures of the Old and New Testament’ published in 1...
Linear perspective has long been used to create the illusion of three-dimensional space on the picture plane. One of its central axioms comes from Euclidean geometry and holds that all parallel lines converge in a single vanishing point. Although lin...
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