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Inferring Master Painters Esthetic Biases from the Statistics of Portraits

机译:从肖像统计推断画家的审美偏向

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摘要

The Processing Fluency Theory posits that the ease of sensory information processing in the brain facilitates esthetic pleasure. Accordingly, the theory would predict that master painters should display biases toward visual properties such as symmetry, balance, and moderate complexity. Have these biases been occurring and if so, have painters been optimizing these properties (fluency variables)? Here, we address these questions with statistics of portrait paintings from the Early Renaissance period. To do this, we first developed different computational measures for each of the aforementioned fluency variables. Then, we measured their statistics in 153 portraits from 26 master painters, in 27 photographs of people in three controlled poses, and in 38 quickly snapped photographs of individual persons. A statistical comparison between Early Renaissance portraits and quickly snapped photographs revealed that painters showed a bias toward balance, symmetry, and moderate complexity. However, a comparison between portraits and controlled-pose photographs showed that painters did not optimize each of these properties. Instead, different painters presented biases toward different, narrow ranges of fluency variables. Further analysis suggested that the painters' individuality stemmed in part from having to resolve the tension between complexity vs. symmetry and balance. We additionally found that constraints on the use of different painting materials by distinct painters modulated these fluency variables systematically. In conclusion, the Processing Fluency Theory of Esthetic Pleasure would need expansion if we were to apply it to the history of visual art since it cannot explain the lack of optimization of each fluency variables. To expand the theory, we propose the existence of a Neuroesthetic Space, which encompasses the possible values that each of the fluency variables can reach in any given art period. We discuss the neural mechanisms of this Space and propose that it has a distributed representation in the human brain. We further propose that different artists reside in different, small sub-regions of the Space. This Neuroesthetic-Space hypothesis raises the question of how painters and their paintings evolve across art periods.
机译:处理流利度理论认为,大脑中感官信息处理的简便性有助于审美愉悦。因此,该理论将预示大师画家应该表现出对视觉属性的偏见,例如对称性,平衡性和适度的复杂性。是否存在这些偏差?如果是,画家是否正在优化这些属性(流畅度变量)?在这里,我们用文艺复兴初期的肖像画统计数据来解决这些问题。为此,我们首先针对上述每个流畅度变量开发了不同的计算方法。然后,我们从26位大师画家的153张肖像中测量了他们的统计数据,在三种受控姿势下拍摄了27张人物照片,并迅速拍摄了38张个人照片。早期文艺复兴时期的肖像与快速拍照的照片之间的统计比较表明,画家表现出偏重平衡,对称和适度的复杂性。但是,肖像和控制姿势的照片之间的比较表明,画家并没有优化这些特性。取而代之的是,不同的画家表现出了对流利度变量的狭窄范围的偏见。进一步的分析表明,画家的个性部分源于必须解决复杂性与对称性和平衡性之间的矛盾。我们还发现,不同画家对使用不同绘画材料的限制会系统地调节这些流畅度变量。总之,如果我们将审美乐趣的加工流利度理论应用到视觉艺术的历史上,则可能需要扩展,因为它不能解释每个流利度变量的优化不足。为了扩展该理论,我们提出了一个神经美学空间的存在,其中包含每个流畅度变量在任何给定的艺术时期可以达到的可能值。我们讨论了该空间的神经机制,并提出它在人脑中具有分布式表示。我们进一步建议,不同的艺术家居住在空间的不同小区域。神经美学空间假说提出了一个问题,即画家及其绘画在整个艺术时期如何演变。

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