The effects of visual context and individual differences on perception and evaluation of modern art and graffiti art

Traditionally, artworks are seen as autonomous objects that stand (or should stand) on their own. However, at least since the emergence of Conceptual Art in the 1920s and Pop Art in the 1960s, art lacks any distinctive perceptual features that define it as such. Art, therefore, cannot be defined without reference to its context. Some studies have shown that context affects the evaluation of artworks, and that specific contexts (street for graffiti art, museum for modern art) elicit specific effects (Gartus & Leder, 2014). However, it is yet unclear how context changes perception and appreciation processes. In our study we measured eye-movements while participants (64 psychology undergraduates, 48% women) perceived and evaluated beauty, interest, emotional valence, as well as perceived style for modern art and graffiti art embedded into either museum or street contexts. For modern art, beauty and interest ratings were higher in a museum than in a street context, but context made no difference for the ratings of graffiti art. Importantly, we also found an interaction of context and individual interest in graffiti for beauty and interest ratings, as well as for number of fixations. Analyses of eye-movements also revealed that viewing times were in general significantly longer in museum than in street contexts. We conclude that context can have an important influence on aesthetic appreciation. However, some effects depend also on the style of the artworks and the individual art interests of the viewers.     

In the white cube: Museum context enhances the valuation and memory of art

Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line with the postulates of situated cognition, we show that the experience of art relies on organizing resources present in the environment. Specifically, artworks were found more arousing, positive, interesting and liked more in the museum than in the laboratory. Moreover, participants who saw the exhibition in the museum later recalled more artworks and used spatial layout cues for retrieval. Thus, encountering real art in the museum enhances cognitive and affective processes involved in the appreciation of art and enriches information encoded in long-term memory.     

Experimentelle Untersuchungen über das Sehen bei nichtoptimaler Akkommodation

Ohne Zusammenfassung     

Program Extraction from Normalization Proofs

This paper describes formalizations of Tait's normalization proof for the simply typed λ-calculus in the proof assistants Minlog, Coq and Isabelle/HOL. From the formal proofs programs are machine-extracted that implement variants of the well-known normalization-by-evaluation algorithm. The case study is used to test and compare the program extraction machineries of the three proof assistants in a non-trivial setting.     

Von der Erkenntnis des Sch?nen in der Kunst

Ohne Zusammenfassung