Art & Perception Conference 2010, Brussels 24 November 2010 CC 2010 [info at ww ww.experim mental-psy ychology.c com] The adaptivity it of aesthetic ti dimensions i in the domains of art and design Claus Christian Christian Carbon University of Bamberg Department of General Psychology and Methodology by C ccc@experimental psychology.com 1
from Carbon & Leder (2005; Perception) 2 by CCC 2010 [info at www.experimental-psychology.com]
from Carbon & Leder (2005; Perception) 3 by CCC 2010 [info at www.experimental-psychology.com]
ms ms ms min min min hrs ms ms min Carbon & Ditye (in press) 30 s 1 week days unlimited 4 by C CC 2010 [info at www.experimental-psychology.com]
First conclusion mental-psy ychology.c com] ww.experim [info at ww by CCC 2010 [ Clear long term adaptation effects Seem to have a representational basis 5
Research question by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Might adaptation effects be helpful in explaining (and predicting) effects of Fashion cycles? Design trends? Art epochs? 6
Innovation cycles: BMW 5 series by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] (Carbon, 2010, Acta Psychologica) 501A 501 1800 A 1800 B E12 A E12 B E28 E34 A E34 B E39 1952 1958 1963 1968 1973 1976 1981 1988 1990 1995 t 7
Study on design trends Clear cycle of preference, linked with curvature (Carbon, 2010 Acta Psychologica) 8 by CCC 2010 [info at www.experimental-psychology.com]
Study on design trends by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Why did we like ultra round design in the 1950s loved angular design in the 1970s & 1980s preferred curved design in the beginning gof 21 st century and are now on a hybrid angular curved trend? 9
Adaptation study on design trends by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Adaptation to highly innovative car designs ( Simulation of future visual habits ). 10
Adaptation study on design trends Evaluations No adaptation After adaptation (Carbon, 2010 Acta Psychologica) 11 by CCC 2010 [info at www.experimental-psychology.com]
Adaptation study on design trends CC 2010 [info at ww ww.experim mental-psy ychology.c com] Adaptation as plausible mechanism for triggering fashion or design trends Increase of preference towards newly inspected stimuli Devaluation of familiar stimuli (regarding innovativeness, liking, etc.) by C 12
Adaptation on artistic style by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Long term trends can also be found in fine arts, architecture, music, etc. Art epochs Art eras 13
Adaptation on artistic style CC 2010 [info at ww ww.experim mental-psy ychology.c com] Stimulus demands for experimental testing of adaptation effects on art perception Need for unique artistic styles which could be usedas adaptors Evaluation set must contain more or less parts of the idiosyncratic i attributes of the adaptors by C 14
Adaptation on artistic style by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Paintings of Amedeo Modigliani (1884 1920) idiosyncratic depictions of humans typical style: mannerist elongation of faces and bodies 15
Adaptation on artistic style by C CC 2010 [info at ww ww.experim mental-psy ychology.c com] Procedure 1) T1: Evaluation of paintings from many art periods 2) Adaptation (Modiglianis) 3) T2: as in T1 Material Evaluation set: 8 paintings from 5 centuries of Western art history 11 levels of elongation Adaptation ti set: 8 Modiglianis 16
Adaptation on artistic style [info at ww ww.experim mental-psy ychology.c com] by CCC 2010 [ Results N = 50 Aggregated data: Curve fittings on individual data: still very high: R 2 =.86 (Carbon et al., 2007 Perception-S) 17
Adaptation on artistic style by C CC 2010 [info at ww ww.experim mental-psy ychology.c com] Results Clear adaptation effect towards idiosyncratic mannerist style of Modigliani i Further results Modulation by similarity il i (with hmodglianis) i The more similar, the stronger the adaptation effects Modulation by familiarity The more familiar, the weaker the adaptation effects 18
Adaptation on artistic style by C CC 2010 [info at ww ww.experim mental-psy ychology.c com] Extensions Compatible effect with adaptation phase employing paintings by Fernando Botero No clear adaptation effects with artistic styles mimicking Impressionism Fauvism Pointillism 19
Conclusions by CCC 2010 [info at ww ww.experim mental-psy ychology.c com] Adaptation effects in the described cases seem to be representationally based (e.g., Carbon etal., 2007a; Carbon & Ditye, in press) Adaptation effects might be one essential basis for triggering design, fashion and even artistic trends (e.g.,carbon etal.,2007b; Carbon, 2010) 20
References Bohrn, I., Carbon, C. C., & Hutzler, F. (2010). Mona Lisa s smile: Perception or deception? Psychological Science, 21(3), 378 380 380. Carbon, C. C. (2009). What "exactly" is a prototype? Not sure, but average objects are not necessarily good candidates for... Perception, 38(S). Carbon, C. C. (2010). The cycle of preference: Long term dynamics of aesthetic appreciation Acta Psychologica, 134(2), 233 244. Carbon, C. C., & Ditye, T. (in press). Sustained effects of adaptation on the perception of familiar faces. Journal of Experimental Psychology: Human Perception & Performance. Carbon, C. C., Ditye, T., & Leder, H. (2006). Setting the trend: When attractiveness is a matter ofadaptation. Perception, 35, 199 199. Carbon, C. C., Grüter, T., Grüter, M., Weber, J. E., & Lueschow, A. (2010). Dissociation of facial attractiveness and distinctiveness processing in congenital prosopagnosia. Visual Cognition, 18(5), 641 654. Carbon, C. C., & Ld Leder, H. (2005). Face adaptation: ti Changing stable tbl representations tti of familiar faces within minutes? Advances in Cognitive Psychology, 1(1), 1 7. Carbon, C. C., & Leder, H. (2005). Innovation in design and aesthetics: How attributes of innovation influence attractiveness in the long run. Perception,, 35(S), (), 32 32. Carbon, C. C., & Leder, H. (2005). The Repeated Evaluation Technique (RET). A method to capture dynamic effects of innovativeness and attractiveness. Applied Cognitive Psychology, 19(5), 587 601. Carbon, C. C., & Leder, H. (2006). The Mona Lisa effect: is 'our' Lisa fame or fake? Perception, 35(3), 411 414. Carbon, C. C., & Leder, H. (2007). Design evaluation: Fromtypical problems to state of the art the art solutions. Thexis, 2007(2), 33 37. Carbon, C. C., Leder, H., & Ditye, T. (2007). When style matters. Art specific adaptation effects. Perception, 36(S), 17 17. Carbon, C. C., Michael, L., & Leder, H. (2008). Design evaluation by combination of repeated evaluation technique and measurement of electrodermal activity (EDA). Research in Design Engineering, 19(2 3), 143 149. Carbon, C. C., Strobach, T., Langton, S., Harsanyi, G., Leder, H., & Kovacs, G. (2007). Adaptation effects of highly familiar faces: fast and long lasting. Memory and Cognition, 35(8), 1966 1976. Faerber, S. J., Leder, H., Gerger, G., & Carbon, C. C. (2010). Priming semantic concepts affects the dynamics of aesthetic appreciation. Acta Psychologica, 135(2), 191 200. Gerger, G., Leder, H., Faerber, S. J., & Carbon, C. C. (in press). When the others matter: Context dependent effects on changes in appreciation of innovativeness. Swiss Journal of Psychology. 21 CC 2010 [info at ww ww.experim mental-psy ychology.c com] by C
Abstract Personal taste develops over time and is highly susceptible for Zeitgeist dependent effects. Using an adaptation paradigm from the face adaptation literature (Carbon & Ditye, in press; Webster & MacLin, ) we could show in a series of experiments that not only the representation of artworks (Carbon & Leder, 2006), but also taste quickly adapts towards adaptors (Carbon, Ditye, & Leder, 2006). One of these experiments made use of the idiosyncratic style of Amedeo Modigliani who employed manneristic face ychology.c1999), In the first part of the experiment, the pre adaptation phase (T1), participants were asked to rate their liking of a number of portraits by various artists of a variety of different historical epochs on a seven point Likert scale. Each portrait was presented in 11 different versions which differed in the amount compression or extension in heights (cf. Carbon et al., 2007). This block was followed by an adaptationphase in which Modigliani s paintings were shown. In a succeeding test phase, the post adaptation phase mental-psyelongation. (T2), liking of the same paintings of T1 was rated again by the participants. Results revealed systematic changes in aesthetic appreciation for those exemplars that were structurally rather similar in the style to Modigliani ww.experimof i(h (the extended dversions). The talk qualifies and discusses such style based adaptation effects by comparing them with long term adaptation effect in the domain of product design research (Carbon, 2010) to reveal their common cognitive basis. com] CC 2010 [info at ww by C Keywords: Aesthetics; Design; Formensprache; Gestalt; Adaptation; Art and vision; Zeitgeist References: Carbon, C. C. (2010). The cycle of preference: Long term dynamics of aesthetic appreciation Acta Psychologica, 134(2), 233 244. Carbon, C. C., & Ditye, T. (in press). Sustained effects of adaptation on the perception of familiar faces. Journal of Experimental Psychology: Human Perception & Performance. Carbon, C. C., Ditye, T., & Leder, H. (2006). Setting the trend: When attractiveness is a matter of adaptation. Perception, 35, 199 199. Carbon, C. C., & Leder, H. (2006). The Mona Lisa effect: is 'our' Lisa fame or fake? Perception, 35(3), ( 411 414. Carbon, C. C., Strobach, T., Langton, S., Harsanyi, G., Leder, H., & Kovacs, G. (2007). Adaptation effects of highly familiar faces: fast and long lasting. Memory and Cognition, 35(8), 1966 1976. Webster, M. A., & MacLin, O. H. (1999). Figural aftereffects in the perception of faces. Psychonomic Bulletin and Review, 6(4), 647 653. 22