1. WHY DO WE HANG ART (AND
NESTS) ON OUR WALLS? (1.0)
PaulGolding
ChiefScientist&DirectorLabs,Art.com
(Consultant)
1

2. ‹#›
MOTIVATIONS&APPROACH
• UNDERSTANDINGWHYPEOPLEHANGARTMIGHTHINTATUSEFULVECTORSIN
INNOVATION(FORREPRODUCTIONARTMARKET)INORDERTOSELLMOREART.
• TRIEDTOSEEKREASONSTHATHAVESOMEKINDOFEMPIRICALEVIDENCE-
E.G.FROMEVOLUTIONARYPSYCHOLOGY,NEURO-AESTHETICSETC.
!
• LOOSEENSEMBLEOFIDEASTHATIFOUNDUSEFUL.IT’SAWORKIN
PROGRESS.STAYTUNEDFORUPDATES.
!
• READERLEFTTODRAWOWNCONCLUSIONSABOUTHOWTOUSETHE
MATERIALS-GOODLUCK!STAYINTOUCH(@PGOLDING)
2

3. ‹#›
SCOPE
• EXPLOREDWALLDECORMARKET(I.E.REPRODUCTION
ARTSOLDTONON-EXPERTCONSUMERS-ART.COM,
IKEA,MICHAELS,TARGETETC.)
• DIDN'TEXPLOREORIGINALART(BUTSOMEOVERLAP,
ASWILLBECOMECLEAR)
• DIDN’TEXPLORECONCEPTUALART,AVANTGARDE
ETC.
• MOSTLYLIMITEDSTUDYTOWALLDECOR(PICTURES)
3

4. ‹#›
“OUTERVOICEOFCUSTOMER”
“VOICEOFTHECUSTOMER”SURVEYS(E.G.UNITYMARKETINGREPORT)
WILLGIVESTANDARD,PERFUNCTORYLISTOFPURCHASEMOTIVATIONS:
1. IJUSTLIKEDIT[WHENISAWIT]
2. STYLE[MATCHEDMYHOUSE]
3. COLOR[INTERESTEDME]
4. VALUE[FORMONEY]
5. SUBJECT[INTERESTEDME]
4

5. ‹#›
“INNERVOICE”MOREUSEFUL
WHATCLAYTONCHRISTENSENREFERSTOAS“WHATJOBDID
THEUSER[REALLY]HIRETHEPRODUCTTODO?”
!
EXAMPLE:MILKSHAKEISNOTATHICKMILKYDRINK“HIRED”
TOSATIATETHIRST,BUTACONVENIENTNON-MESSY
PORTABLE,LONG-LASTING,SATISFYINGFOOD“HIRED”ASA
CAR-FRIENDLYON-THE-GOBREAKFAST…
!
THEREFORE:INNOVATEASBREAKFASTPRODUCT,NOTDRINK.
5

6. ‹#›
LET’SSTARTWITHTHEWALL…
6

7. ‹#›
LET’SSTARTWITHTHEWALL…
WHYNOTLEAVEITBLANK?
7

8. ‹#›
WEKINDOF“GREWUP”LOOKINGATTHIS…
FOR~80,000GENERATIONS
(MODERNMAN~300GENERATIONSOLD)
NOTEXACTLYBLANK
VISTASTHATTRIGGERALLKINDSOFEMOTIONALRESPONSES
INCLUDINGPLEASURE 8

9. ‹#›
SUB-CONSCIOUSPLEASUREPATTERNS
OURBRAINSAREHARD-WIRED,BY
EVOLUTION,TOLIKECERTAINTYPESOF
VISUALPATTERNS/REPRESENTATIONS:
1. LANDSCAPES
2. NATURE
3. SYMMETRY
4. COLORS(ANDHARMONIES)
5. SIMPLICITY
6. SOURCESOFFOOD/COMFORT
9

10. ‹#›
LANDSCAPESAREPOPULARADORNMENTS
THEYCANTRIGGERAFEELINGOF
SECURITY,WHATJAYAPPLETONCALLS
“PROSPECT&REFUGE”…
!
TOSEEWITHOUTBEINGSEEN.A
PROSPECTFROMWHICHTOSURVEY
ANDATTHESAMETIMEENJOYREFUGE
FROMITSPOTENTIALDANGERS.
10

11. ‹#›
EXTENDSTOOTHERASPECTSOFNATURE
WELIKETREESWITHLOW
HANGINGBRANCHES.
!
WELIKEABUNDANCEOFFRUITS
ANDFLOWERS-BOTANICAL
PATTERNS.
!
ALLFROMOUR“SAVANNAPLAINS”
ADAPTATIONALBAGGAGE.
11

12. ‹#›
WEPAYGOODMONEYTO…
LIVENEARTONATURE…
!
AHOUSEBYTHESEA,AMOUNTAIN,RIVERSIDE,TREESETC.
12

13. ‹#›
DIRECTPLEASURE…
OURBRAINSINSTINCTIVELYRESPONDTOCERTAIN
IMAGESWITHPLEASURE.
!
WEPREFERPLEASURETOPAIN.
!
SOWEADORNOURDAILYVIEW(HOMEWALLS)
WITHPLEASURE-CAUSINGIMAGERY.
!
ATAFUNDAMENTALANDSUPERFICIALLEVEL,WALL
DECORISABOUTSATISFYINGTHERUDIMENTARY
PLEASUREORGANSOFOURBRAINS.
13

14. ‹#›
PLEASURE…IJUSTLIKEIT…
ANIMAGEMIGHT“GRAB”USVERYSUPERFICIALLYBECAUSEOF
THISPLEASURE-IMAGEINSTINCTANDWEMIGHTHANGITFOR
THATREASONALONE.
!
NOGRANDERREASON.NOTHING“SOPHISTICATED.”
!
MANYFOLKSBUY“WALLDECOR”ANDNOTART.THEYDON’T
KNOW,NORCARE,ABOUTTHEARTIST,OTHERTHAN“SOME
FAMOUSDUDE.”
14

15. ‹#›
DOWEHAVEANINSTINCTFORBEAUTY?
YES.SEVERALEVOLUTIONARYADAPTATIONSMAKESOMEOBJECTSBEAUTIFUL.
!
• FACIALBEAUTY-AVERAGEDFACESSIGNALGREATERGENETICDIVERSITY.
• EXAGGERATEDSEXUALDIMORPHISMSIGNALSFITNESS.
• SYMMETRYSIGNALSFITNESSUNDERVARIOUSCONDITIONS(ANDEASIER
VISUALPROCESSING).
• LANDSCAPES(ASMENTIONED)SIGNALSAFETY,NUTRITIONETC.
• BEAUTYINABSTRACTOBJECTSTHATSIGNALABILITYTOREDUCECOMPLEX
INFORMATIONTOUNDERSTANDABLENUGGETS.
!
“BEAUTYISALOOSEENSEMBLEOFEVOLUTIONARYADAPTATIONS”-CHATTERJEE
(THEAESTHETICBRAIN).
15

16. ‹#›
BEAUTYCANBEABSTRACTEDTOFORM
WELIKESYMMETRYINCIRCLES…
!
WELIKEEARTHYANDVIBRANTCOLORS(MIMICNATURE)…
!
NOMEANINGREQUIRED,NOPHYSICALREPRESENTATION
ETC.
!
JUSTFIRESOUR“PLEASUREINSTINCT”
!
“CHEESECAKEFORTHEMIND”(PINKER,REFERRINGTO
MUSIC,BUTSAMEIDEAAPPLIES).
16

17. ‹#›
BEAUTYCANBEABSTRACTEDTOSTYLE
SOFTORGANICTEXTURES(FOUNDINNATURE)CREATEDUSING
DOTS(POINTILLISM)
!
BLENDEDCOLORS,LIKENATURE.
!
NATUREITSELF-TREES,WATER-“PROSPECT&REFUGE”
PEOPLE(MANONBOAT)-WELIKENON-THREATENINGIMAGES
OFPEOPLEANDSPORTYPEOPLE(FITNESSSIGNAL).
!
WHOCARESORNEEDSTOKNOWABOUTPOINTILLISM?
WHOCARESABOUTTHEARTIST(SEURAT)?
17

18. ‹#›
BEAUTYEXTENDSTODECORHARMONY.
COLORSCANHAVEPSYCHOLOGICALIMPACT-E.G.ORANGEIS“SUNNY”AND
“HAPPY.”
!
SOARTOPERATESONTHELEVELOFCOLORPLEASUREAND/ORFORM
PLEASURE.
!
BUT,COLORHARMONYWITHOTHERITEMSINROOMSATISFIESBEAUTY-
INSTINCTFORSIMPLICITYANDSYMMETRY.
!
DEPENDINGONTHEINDIVIDUAL,HARMONYCANSTIMULATEAMUCH
GREATERPLEASUREINSTINCTTHANEACHITEM.
18

19. ‹#›
19
ART.COMLABS
Decor
palettes
An
experiment
in
discovering
art
by
decor
color
harmony.

20. ‹#›
20
ART.COMLABS
Other
palettes

21. ‹#›
ART.COMLABS
21
Color
as
story

22. ‹#›
ART.COMLABS
22
ART.COMLABS
See
in
the
context
of
the
palette

23. ‹#›
BUT…
ARTISN’TJUSTABOUTSHOWINGPATTERNS
THATTRIGGEROURBEAUTYINSTINCTS…
!
ARTCANBEABSTRACT,EVEN“UGLY”(INTHIS
NARROWBIOLOGICALSENSE).
!
ARTCANSPANMANYSUBJECTS,THEMES,IDEAS
BEYONDTHE“BEAUTY”INSTINCTSOFTHEMIND.
23

24. ‹#›
ISTHEREANARTINSTINCTTHEN?
PINKERSAYSNO.GOULDSAYSNO:“SPANDRELOFTHEMIND”-I.E.BY-PRODUCT
OFADAPTATION.HASNOADAPTATIONALPURPOSE.
!
TEMPTINGTOTHINKYESBECAUSEOFTHEUNIVERSALITYOFARTACROSSALL
CULTURESANDITSEARLYORIGINS(CAVEPAINTINGS).
!
MOSTLIKELYISN’T.ARTISTICDIVERSITYTHRIVEDIN CONDITIONSOFLOW
ADAPTATIONALPRESSURE(SEECHATTERJEE’S“THEAESTHETICBRAIN”).
!
ARTEXPERIENCESENGAGEENSEMBLESOFSENSORY,EMOTIONALAND
COGNITIVESYSTEMS.FLEXIBILITYOFTHESEENSEMBLESISWHATMAKESART
EXPERIENCESSODIVERSEANDSOUNPREDICTABLE.
24

25. ‹#›
DAVINCIANDPEACOCKS
PLEASURECOMESINMANYFORMS.
!
HUMANSAPPRECIATE“GOOD”ARTIN
THESENSEOFADISPLAYOFFITNESS-
I.E.SOMETHINGTHATISDIFFICULTTO
DO-SKILL&VIRTUOSITY.
!
LIKEPEACOCKPLUMAGEISASIGNAL
FORMATINGFITNESS,THE
PRODUCTIONOFART-THEDISPLAYOF
VIRTUOSITY-INCREASESITSAPPEAL.
25

26. ‹#›
WEVALUEEFFORT(HUMANSKILL)
STUDIESSHOWTHEFOLLOWING:
!
WEAPPRECIATEARTMOREWHENAHUMANCREATEDITVERSUSA
COMPUTER(E.G.AFRACTALFROMANALGORITHM)BECAUSEOFTHE
PERCEIVEDEFFORT(I.E.VERYLITTLEINTHECASEOFANALGORITHM).
!
CONTROLV.TESTGROUPSWILLRATETHESAME(HUMAN-MADE)ART
DIFFERENTLYWHENTOLDTHATITTOOK20HOURSVERSUS40HOURSTO
CREATE.
!
TECHNICALSKILLISANINVISIBLEESSENCEBEYONDWHATWESEE-WE
ASSIGNITBASEDONTHEASSUMEDSOPHISTICATIONANDSKILLOFTHE
CREATOR.
26

27. ‹#›
ESSENTIALISM
HUMANBEINGSAREESSENTIALISTS-WEASSIGN
(UNSEEN)ESSENCESTOOBJECTSTHATAFFECTTHEIR
VALUE.
!
MOSTPOTENTEXAMPLEISAREALIMAGEVERSUSA
FAKE,ORREPRODUCTION.THEYARE,INALL“PHYSICAL”
WAYS,IDENTICAL,EXCEPTTHEORIGINALHASTHE
INVISIBLEESSENCEOFTHEHISTORYOFITSCREATION
ANDPHYSICALRELATIONSHIPWITHITSCREATOR.BUT
THAT’SNOTSOMETHINGYOUCANTELLBYLOOKINGATIT.
27

28. ‹#›
ESSENTIALISM
THEBOTTLEDWATERINDUSTRYISAGREATEXAMPLEOFESSENTIALISMATWORK.
!
WEWILLPAYVASTLYDIFFERENTSUMSOFMONEYFORWHATISMOSTLYTHESAME
PRODUCT-WATER.
!
WEASSIGNINVISIBLEESSENCESTOAPRODUCTLIKEPERRIERVERSUS“ACMEX”WATER.
!
THE(NORTHAMERICA)CEOOFPERRIERFAILED5TIMESTOIDENTIFYHISPRODUCTFROM
OTHER(INFERIOR)BOTTLEDWATERS.
!
WINETASTERSGIVENTHESAMEWINEANDTOLDDIFFERENTSTORIESABOUTITSORIGIN
REPORTDIFFERENTTASTES,INFLUENCEDBYTHEINFORMATION,NOTTHETASTE.
28

29. ‹#›
COKETASTESBETTERWHENYOUKNOW
RESPONSETOARTCANBEPURELYSENSORY-COLORS
ANDSHAPES(“SAVANNAINSTINCTS”).BUTMEANINGCAN
SIGNIFICANTLYCHANGETHEEXPERIENCE,LIKECOLA.
!
INBLINDTASTETESTS,PEPSIUSUALLYWINS.BUTWHEN
THETASTERKNOWSWHATHE’SDRINKING,HEPREFERS
COCACOLA.THELABEL/BRANDMADEADIFFERENCETO
THETASTE.
!
THIS“ADDEDTASTE”ISANINVISIBLEESSENCECLEARLY
NOTPARTOFTHEPRODUCT.ITISAMENTALASSOCIATION.
29

30. ‹#›
WATERISASELF-HELPPRODUCT
SOWHYDOWEDRINKEXPENSIVEWATER?WHATDOESTHEESSENCE
DOFORUS?
!
ITSIGNALSWEALTHANDPROSPERITY,WHICHREINFORCESPLEASURE
ANDSECURITY.
!
MOSTOFTEN,ITISASIGNALTOTHESELF,NOTOTHERS.“ICANAFFORD
FINETHINGS.”ITMAKESUSFEELGOODABOUTOURSELVES.BOTTLED
WATERISA“SELF-HELP”PRODUCTWITHNOTANGIBLEHEALTH
BENEFITS.
30

31. ‹#›
ARTASSELF-HELPPRODUCT
SOMETHINGABOUTTHEPIECE,SUCHASIT’SBEA
FAMOUS,BUTCONTENTIOUS,ARTIST,BECOMESAN
ESSENCE.
!
THEUSERMIGHTNOTESPECIALLYLIKETHEIMAGE,BUT
FAVORSWHATITSIGNALS(TOSELF).
!
“IHAVETASTE”OR“IAMAVANTGARDE”ETC.
31
55 percent of survey respondents
agreed that “The art I buy and
display is an important outlet for
my creative expression.” [Unity
Marketing report 2010]

32. ‹#›
NESTASSELF-HELPPRODUCT
HIGH-TECHWALLDECOR?
!
“ICANAFFORDHIGH-TECHTHERMOSTAT”(COMMODITYITEM)
!
“IAMANECO-WARRIOR.”
!
“IAMTECHNICALLYWITHIT.”
!
“IAMMODERN.”
It’s
just
a
thermostat,
really.
OK.
It
saves
you
money.
(And
water
makes
me
healthy.)
32

33. ‹#›
THEBOOKWORM
ANEXAMPLEOFDESIGN-DRIVENINNOVATION(SEEVERGANTI).
!
Q: “WHATJOBISMYBOOKSHELFHIREDTODO?”
!
A:“DISPLAYTOOTHERSTHEKINDSOF(SOPHISTICATED)BOOKS
THATIREAD…(DISPLAYOFFITNESS)
!
INNOVATEBOOKSHELF(ANDBOOKS)ASART,NOTABOOKHOLDER.
BOOKSASADORNMENT,BUTBYTHEIRESSENCES.
Look
what
I
(can)
read.
33

34. ‹#›
CONSPICUOUSCONSUMPTION
IREADGODEL,ESCHER,BACH(“AMSMART”).
!
IREAD“THEGREATBOOKS”(“AMSOPHISTICATED”).
!
I’VETRAVELLEDTOTUNISIA(“AMTRAVELLED”).
!
I’MINTOCOFFEEANDWINE(“HAVETASTE”)
-BUTPROBABLYFAILBLINDTASTETEST:)
!
ANDOTHERESSENCESASSIGNALSTOSELF&OTHERS.
34

35. ‹#›
CONSPICUOUSCONSUMPTION
ORIGINALART.
!
EXPENSIVE.
!
SIGNALSWEALTH(TOOTHERS).
!
IDENTICALPRINTHASNOSUCHVALUE. F.Mathieu
“Italian
Side”
($57,000)
35

36. ‹#›
ORIGINALARTASCONTAGION
ORIGINALARTHASASPECIALHISTORICAL
“POSITIVECONTAGION”ESSENCE.
!
PHYSICALRELATIONSHIPWITHITSCREATOR,
ROOTEDINHISTORY.ANDTHEINFERRED(MOSTLY
UNKNOWN)PERFORMANCEUNDERLYINGITS
CREATION.
!
LIKEBUYINGMEMORABILIA-40,000PAIDFOR
TAPEMEASUREOWNEDBYJFK.
F.Mathieu
“Italian
Side”
($57,000)
It’s
just
a
tape
measure.
36

37. ‹#›
REPRODUCTIONARTASCONTAGION?
CONTAGIONESSENCESTILL
POSSIBLE…
!
“POSITIVECONTAGION”AS
ESSENCEBYOTHERKINDSOF
ASSOCIATION.
!
E.G.ARTASSEENINBIGBANG
THEORYORASLIKEDBY
(FAMOUSSOANDSO). http://www.allposters.com/-­‐sp/Just-­‐another-­‐day-­‐in-­‐L-­‐A-­‐
Posters_i9104634_.htm
37

38. ‹#›
REPRODUCTIONARTASCONTAGION?
POSITIVECONTAGIONAS
INSPIRATION…
!
IFIHANGTHISART,IMIGHTIMBIBE
ITS(ESSENCE)MESSAGE…
!
IWILLBELIKESTEVEJOBS.
38

39. ‹#›
ANOTEABOUTSOCIALCONTAGION
STUDIESSHOWTHATEVENTHOSEWHORATETHEMSELVESAS
“HIGHLYMORAL”WILLLIEIFTHEYSEETHEIRASSOCIATES
GETTINGAWAYWITHLYING.
!
WEAREMOREIMPRESSIONABLETHANWELIKETOTHINK,
ESPECIALLYWITHPEERS.
!
IT’SPOSSIBLETOINFLUENCETASTEVIASOCIALCONTAGION.
!
NOTE:SOCIALRECOMMENDATIONSFROMFRIENDSAREMORE
PUNGENTTHATGENERALSOCIALRECOMMENDATIONS.
39

40. ‹#›
WHATABOUTMEANING?
STORYISANINVISIBLEESSENCE.REMEMBERCOCACOLA?
MEANINGCANTOTALLYCHANGETHEEXPERIENCE.
!
AWOMAN(MONET’SWIFE)WITHAPARASOL(CLAUDE
MONET)ANDABOY(MONET’SSON).
!
IT’SSUNNY.FASHIONABLEBACKTHENTOHAVEASUNSHADE.
WHO’STHATBOY,LOLLINGAROUNDINTHEBACKGROUND?
FLUFFYKINDOFTEXTURETOTHEPAINTING.
DOESN’TMEANMUCH,DOESIT?
40

41. ‹#›
WHATDOYOUSEE?
TAKEYOURTIMETOSTUDYTHENEXTIMAGE
!
BYMASTERPAINTERCLAUDEMONET.
!
WHATDOYOUSEE?
41

42. ‹#›
WHICHBRINGSUSTOMEANING
42

43. ‹#›
SPIRITUALEXPERIENCE?
MONET’SWIFEWASDANGEROUSLYILLTHATYEARANDDIED.
!
SEEHOWTHEWINDIS“BLOWINGHERAWAY”ANDHERFACEISRECEDINGINTOTHE
CLOUDS(LOOKATTHESIMILARBRUSHWORK)ORHEAVENS.
!
THESUNANDWINDCONFLUENCEONHERBEING.THESUNGIVESLIFEANDTHEWIND
TAKESAWAY.SHETAKESSHELTERFROMTHESUN.
!
THEBOYFACESUSANDISCOMINGTOWARDSUS,MOVINGINTOTHEFUTURE.HEIS
THEFUTUREWHILESHERECEDES.ISHETHESOURCEOFLIGHTINTHEPAINTING?
!
THISPAINTINGISLIFE,WHICHHASBEAUTYTHATFADESANDCANCOMEANDGOLIKE
THEWIND.BUTNEWGENERATIONSMOVEFORWARDTOCONTINUELIFE,SOAKINGUP
THESUN(THEBOYISWITHOUTSHADE).
43

44. ‹#›
ARTASSELF-HELP
Carpe
diem…
44
72 percent agreed that
“When choosing art for my
home, the way the piece
makes me feel is most
important .” [Unity
Marketing Report, 2010.]

45. ‹#›
ARTASSTORY
Life
goes
on…
45

46. ‹#›
DOWEHAVEASTORYINSTINCT?
46
PINKERSAYSTHEREARESOMEADAPTATIONAL
BENEFITSTOFICTIONALIZEDACCOUNTS-THEABILITY
TOPREDICTANDSHAREOUTCOMESETC.
!
STORIESAPPEARTOBEUNIVERSALTOALLCULTURES.
!
BYVARIOUSSCHOLARLYACCOUNTS,THENUMBEROF
STORYTYPES(PLOTS)AREVERYLIMITED-E.G.SEE
BOOKER’S“THESEVENPLOTS.”
Overcoming
the
monster,
Rags
to
Riches,
The
Quest,
Voyage
and
Return,
Comedy,
Tragedy,
Rebirth.

47. ‹#›
PERSONALPHOTOSTELLSTORIES
47
ARTDOESN’TREALLYHAVEABEGINNING,AMIDDLEANDANEND.
!
PHOTOSDO.THERE’SABEFORE,DURINGANDAFTERFOREVERY
SHOT.
!
THERE’SAWHOLEBACKDROPTOTHEPICTURE.
!
THERE’SANETWORKOFMEMORIES.
!
ASSOCIATIONWITHAPOSITIVEMEMORY-ESSENCE.
That’s
me
and
my
brother

48. ‹#›
MEANINGAS“PACKAGING”
ISITTHEDRINK?
!
ORTHEPACKAGING?
!
FORART,THESTORYISPACKAGING.
!
ANDOTHERESSENCES. Which
is
the
“real”
thing?
48

49. ‹#›
MEANINGAS“PACKAGING”
MOREDESIGN-DRIVENINNOVATION.
!
INSIGHT:PEOPLETENDTOPLAYWITHKITCHEN
UTENSILS.(WE’VEALLFIDDLEDWITHACORK
SCREW.)
!
INNOVATEINDIRECTIONOFPLAYFULNESS.
49

50. ‹#›
VANGO?NO.IT’SGOGH.THAT’S“GOCH”…
WHYISHISARTSOPOPULARAMONGORDINARY
SHOPPERSWHOKNOWLITTLEABOUTARTANDVAN
“GO?”
!
DOESN’TITLOOKLIKEAHIGH-SCHOOLERPAINTEDIT?
!
WHATDOESANAVERAGE“JOE”KNOWABOUTVAN
GOGHANDALLTHATHISAPPROACHENTAILEDAND
MEANTTOTHEARTWORLD?
!
NOTMUCH.
50

51. ‹#›
UNIVERSALAESTHETIC?
AREGOODPAINTINGSSIMPLYGOODPAINTINGS?
!
THISHASBEENTESTEDWITHINCONCLUSIVE
RESULTS.
!
WEKNOWOFAUNIVERSAL“BEAUTY
INSTINCT”(SEEEARLIER)BUTARTHASLONG
SINCEEVOLVEDAWAYFROMBASIC“SAVANNA
INSTINCT”FORMS(SEECHATTERJEE)ANDEVEN
DELIBERATELYVIOLATESTHEM(STARSDON’T
REALLYLOOKLIKETHIS,DOTHEY?)
51

52. ‹#›
SOCIALCONTAGION,AGAIN.
THEREISAWHOLEBODYOFKNOWLEDGEANDMEMESOUT
THEREABOUTVANGOGH.HE’SFAMOUS,LIKETHE
KARDASHIANS.
!
WELIKEFAMOUSPEOPLE.THEYHAVESOMEKINDOFMAGIC
ANDWEWANTTHEIRMAGICDUST-POSITIVECONTAGION.
!
VANGOGHISWELLKNOWN.HISLIFEISWELLDOCUMENTED.HIS
PAINTINGSAREWIDELYDISCUSSED,SHOWN,REFERENCEDETC.
!
IFTHECROWDPAYSATTENTION,IT’SCONTAGIOUS.“BYA
FAMOUSPERSON”ISASUPERSTRONGESSENCE.
52
This
is
by
someone
important.
It
must
be
good,
right?

53. ‹#›
EXPOSUREEFFECT
THEREARENUMEROUSSTUDIESTHATSHOWHOWFAMILIARITY
INCREASESOURLIKELIHOODOFLIKINGSOMETHING.
!
THE“EXPOSUREEFFECT”HASBEENSHOWNTOWORKEVENFOR
SHORTBURSTSOFTIME.
!
STUDENTSSHOWNRELATIVELYUNKNOWNIMAGESINPASSING
DURINGALECTUREWILLTHENFAVORTHEMINAESTHETICTEST
LATERON.
!
SIMILARRESULTSHAVEBEENOBTAINEDWITHEVENVERYBRIEF
EXPOSURE.
53
I
recognize
this.

54. ‹#›
UNIVERSALARTATTRIBUTES?
INCIDENTALLY,WHATDOESAGOODPAINTING
CONTAIN?
!
NOONEKNOWSFORSURE,BUTATESTTO
IDENTIFYVARIOUSIMAGEQUALITIES,FROMA
RANGEOFVISUALNESSATTRIBUTES,SHOWED
THATARTEXPERTSANDARTAMATEURSHAD
SIMILARABILITIESTOIDENTIFYTHEATTRIBUTES.
!
HOWEVER,ITTURNSOUT(FROMEYE-SCANNING)
THATEXPERTSLOOKATARTDIFFERENTLY.
54

55. ‹#›
UNIVERSALARTTASTE?
ARETHEREARTATTRIBUTESTHATPEOPLEGENERALLYWANTOR
LIKE,IRRESPECTIVEOFWHETHERORNOTTHEYBUYARTWITH
THESEATTRIBUTES?
!
KOMARANDMELAMID(EMIGREPAINTERSFROMRUSSIA)
CONDUCTEDASTUDYCALLED“PAINTINGBYNUMBERS”THAT
SURVEYEDTHOUSANDSOFPEOPLEFROMAWIDEVARIETYOF
CULTURES.
!
THEYFOUNDCOMMONATTRIBUTESTHATEVERYONELIKEDIN
EACHCULTURE,ANDWHICHWERESURPRISINGLYCOMMON
ACROSSCULTURES.
!
SEENEXTSLIDEFORWHATAMERICANFOLKSLIKEDBEST.
55

56. ‹#›
AMERICA’SMOSTWANTED(ARTATTRIBUTES)
WHATGOVINDAND
MELAMIDFOUNDIN
THEIR“PAINTINGBY
NUMBERS”STUDY.
!
THISISWHAT
AMERICANS
WANTEDMOSTIN
THEIRART.
56

57. ‹#›
AMERICA’SMOSTWANTED(ARTATTRIBUTES)
57
Hmmm.
Study
needs
a
pinch
of
salt,
but
you
get
the
idea.
Dishwasher
size
(67%)“Realistic
looking”
(60%)
Outdoors
scenes
(88%)
featuring
lakes,
rivers,
oceans
(49%)
More
vibrant
shades
(36%)
Wild
animals
(51%)
in
natural
setting
(89%)
Persons
in
group
(48%)
Fully
clothed
(68%)
At
leisure
time
(45%)
Ordinary
or
famous
people
(50%)
Fall
scene
(33%)
Soft
curves
(66%)
and
playful,
whimsical
design
(49%)
Colors
blended
(68%)
Brush
strokes
(53%)
Blue
(44%)

58. ‹#›
HMMM.THISSTUFFKINDOFEXISTS.
There’s
lots
of
it.

59. ‹#›
AMERICA’SLEASTWANTED(ARTATTRIBUTES)
59
Study
still
needs
a
pinch
of
salt,
but
you
get
the
idea.
Paperback
size
(4%)Paintings
that
are
“different
looking”
(30%)
Thick
textured
surfaces
(40%)
Geometric
patterns
(30%)
Darker
shades
(22%)
Sharp
angles
(22%)
and
bold,
stark
designs
(39%)
Colors
unblended
(18%)
Gold,
orange,
peach
teal
(1%)

60. ‹#›
WALLDECORLIFECYCLE
MOSTCOMMONEVENTTHATCAUSESWALL
DECORTOBEHUNGIS…
!
ABLANKWALL.
!
MOSTFREQUENTLYCAUSEDBY…
1.MOVING
2.REDECORATING
3.MAJORDOMESTICEVENTS(E.G.DIVORCEOR
KIDSFLEEINGTHENEST)
60

61. ‹#›
ELEVATORMUSIC
OVERTIME,WEBECOMEBLINDTODECOR-ITFADES
INTOTHEBACKGROUND,LIKEELEVATORMUSIC.
!
STUDYATUNIVERSITYOFCHICAGOREVEALEDTHAT
PEOPLEHADLITTLETOSAYABOUTTHEIRWALL
DECOR.NOSTORY.(SEE“MEANINGOFTHINGS”BY
CSIKSZENTMIHALYI)
!
THEYHADMORETOSAYABOUTTRINKETS,LIKE
PLASTICEIFFELTOWERS,THATCOMEWITH
PERSONALHISTORIES(INVISIBLEESSENCE).
61

62. ‹#›
ENDOWMENTEFFECT
USERSAREUNLIKELYTOSCRAPANDREPLACEART,EVEN
WHENITHASPOTENTIALLYBECOME“BORING.”
!
PEOPLEBECOMEPSYCHOLOGICALLYATTACHEDTOOBJECTS
ANDINTEGRATETHEMINTOTHEIRSELF-“ENDOWMENT
EFFECT”
!
PEOPLEWILLPREFERSOMETHINGASMUNDANEASABEER
MATTHEYCHOSEOVERANIDENTICALONE.PEOPLEPREFER
THEIROWNORIGAMICREATION OVERABETTERONEMADE
FORTHEM.
!
PEOPLEBECOMEATTACHEDTOCOLLECTIONSOFTHINGS,
INCLUDINGWALLDECOR.
62

63. ‹#›
HOUSE+DECOR=HOME
I
feel
at
home
63
EVENIFWEATTACH
LITTLEEMOTIONAL
WEIGHTANINDIVIDUAL
DECORITEM,
DECORATINGISOFTEN
EMOTIONALLY
SIGNIFICANT…
!
!
!
IT’SCALLED
HOMEMAKING.

64. ‹#›
HOMEMAKINGSTARTSEARLY
64
EARLY(CHILDHOOD)RECOGNITIONOFTHEHUMANNEEDTOCLAIMSPACEBY
CHANGINGTHEENVIRONMENT[SEEMARCUS-“HOMEASAMIRROROFSELF”]

65. ‹#›
SUBCONSCIOUSCHILDHOODMEMORIES
I
feel
at
home
65
MANYDECORITEMSARE
EXPRESSIONSOFTHE
SUBCONSCIOUS,
ESPECIALLYMEMORIES
OFCHILDHOOD-
RECREATIONOFGOOD
ONES,ORAVOIDANCEOF
BAD.[SEEMARCUS.]
Mind:
“This
reminds
you
of
your
summers
in
England”

66. ‹#›
SUMMINGUP-1
WEMIGHTHANGARTFORTHEFOLLOWINGREASONS:
!
1. BLANKSWALLSAREUNNATURALFOROUR“SAVANNABRAINS”
2. WELIKEIMAGESTHATAREATTRACTIVEINSOME“LOWLEVEL”WAY-PATTERNSTHATPLEASE
THEEYE,ASINFLUENCEDBYOUR“SAVANNAINSTINCTS”
3. WELIKEIMAGESTHATRESEMBLENATUREANDOTHERPATTERNSFROMOUR“SAVANNABRAIN”
WHETHERDIRECTLY(REPRESENTATIONAL)ORINABSTRACTION
4. WELIKESYMMETRYANDCOHESION,SOWEHANGARTTHATALSOHARMONIZESWITHOUR
DECOR
5. THEABOVEAREALLSOURCESOFIMMEDIATEANDDIRECTPLEASURE
6. BECAUSEOFOUR“BEAUTYINSTINCT”-ANENSEMBLEOF“SAVANNA”ADAPTATIONSINTHEMIND
66

67. ‹#›
SUMMINGUP-2
WEMIGHTHANGARTFORTHEFOLLOWINGREASONS:
!
7.NOTBECAUSEOFANYARTISTICINSTINCT-THEREPROBABLYISN’TONE
8.BECAUSEWEARTINHERENTLYATTRACTEDTODISPLAYSOFSKILLANDVIRTUOSITY(“MATING
FITNESS”)
9.THEARTHASANINVISIBLEESSENCETHATSIGNALSTOSELFAFEELINGOFSECURITYAND
PROSPERITY
10.THEARTHASANESSENCEOF“POSITIVECONTAGION”THATEMANATESFROMTHECREATOR
11.THEARTHASANESSENCETHATSIGNALSTOOTHERSTHATWEARESUCCESSFULANDWEALTHY
(“CONSPICUOUSCONSUMPTION”)-E.G.EXPENSIVEORIGINALART,ORSOPHISTICATEDTASTE
12.THEARTHASAMEANINGESSENCETHATGIVESAPOSITIVE“SELFHELP”EMOTIONALRESPONSE
!
!
67

68. ‹#›
SUMMINGUP-2
WEMIGHTHANGARTFORTHEFOLLOWINGREASONS:
!
13.THEARTHASASTORYESSENCETHATGIVESAPOSITIVEMEMORYASSOCIATION,
ESPECIALLYPHOTOS
14.“EXPOSUREEFFECT”-BECAUSEWEAREFAMILIARWITHTHEARTANDIMBIBEAN
INVISIBLEESSENCEOFASSUMEDIMPORTANCE,SIGNIFICANCEORRELEVANCE
15.WEIMBIBETHEINVISIBLEHISTORYESSENCEASSOCIATEDWITHTHECREATIONOF
THEWORK,DUETOTHE“HANDOFTHECREATOR”
16.ITISINOURNATURETO“MAKEAHOME”
17.BECAUSEWEWANTTORECREATEASENSEOFHOMEREMEMBEREDFROMCHILDHOOD
!
68

69. ‹#›
POSSIBLEFUTURERESEARCH
IHAVEONLYSCRATCHEDTHESURFACEOFTHISFASCINATINGTOPIC,PLUSTHE
MATERIALSHEREAREPRESENTEDVERYSUPERFICIALLY.THERE’SALOTMOREDEPTH
(SEERECOMMENDEDRESOURCES).
!
VARIOUSEXPERIMENTSCOULDBEDESIGNEDFORCONFIRMSOMEOFTHE
CONTENTIONS.
!
MAPPINGSOMEOFTHEEMOTIONALRESPONSESTOARTWOULDBEINTERESTING.I
HAVEBEENREADINGMINSKY’S“EMOTIONMACHINE”ANDFOUNDSOMEUSEFUL
VECTORSOFENQUIRY.HOFSTADTERSNEWBOOKALSOINTERESTING.
!
69

70. ‹#›
WHATLESSONSDIDILEARN?
HMMM.
!
THATWOULDBETELLING.
!
FORME,THERESEARCHHASSUGGESTEDVARIOUSDIRECTIONSOF
INNOVATIONFORIMPROVINGWALLDECORE-COMMERCE.
!
MAYBEYOU’LLSEESOMEOFTHEMATART.COM…
!
70

71. ‹#›
RESOURCES
71
The
Spandrels
of
San
Marco…
(By
Stephen
Gould)
The
Assessment
of
Art
Attributes
(Chatterjee
et
al.)
!
Click
on
any
of
the
books
below,
or
see
all
books
on
Amazon

72. ‹#›
CREDITS
72
Lounge
image
by
CGI
artist
Dean
Punched
(ARD
Digital)
!
Most
art
images
from
art.com
or
allposters.com
(See
list
on
next
slides)
!
!
art.com
labs
“color”
website
by
fantastic
art.com
Labs
team.

73. ‹#›
ART
73
Slide
Number Art
shown
1,4 Night
and
Day
by
Katherin
Lovell
2 Mosaic
Light
Bulb
by
Wavebreak
Media
Ltd
3 Periscope
Field
Glasses
5 Strawberry
Shakes
by
Louise
Max
10 Sunset
Beach
by
Daniel
Pollera
11 Dreaming
Red
Tree
by
Melissa
Graves-­‐Brown
11 Closeup
of
Rose
12 White
House
by
the
Sea
by
E
Kryiakopoulou
14 Tuscan
Pleasures
by
Husley
15 Women’s
Face
Sketch
II
by
Simin
Meykadeh
16 Wednesday
Whimsy
III
by
Jeni
Lee
17 The
Seine
by
the
Island
of
Jatte
in
Spring
by
Georges
Seurat
18 Because
of
You
1
by
Philippe
Sainte-­‐Laudy
23 Whaam!
by
Roy
Lichtenstein
24 Snow
Geese
Flying
in
Formation
by
Arthur
Morris
25 Mona
Lisa
by
Leonardo
da
Vinci
25 A
Peacock
Spreads
its
Feathers
at
the
Alipore
Zoo

74. ‹#›
ART
74
Slide Art
26,
27 Within
by
Jennifer
Lommers
26 Abstract
Blue
Fractal
Design
28 Bottle
and
Glass
of
Water
29 Coca-­‐Cola
31 No.
14
(Gray)
by
Jackson
Pollock
37 Just
Another
Day
in
LA
by
Eric
Joyner
39 Pretty
Little
Liars
40,
42,
43,
44,
45 Woman
With
a
Parasol
-­‐
Madame
Monet
and
Her
Son
by
Claude
Monet
46 Pulp
Fiction
50,
51 Starry
Night
by
Vincent
Van
Gogh
52 Almond
Branches
in
Bloom
by
Vincent
Van
Gogh
53 View
of
Arles
with
Irises
by
Vincent
Van
Gogh
54 Lovers
at
Chi
Tou
by
Chi
Wen
55 Deer
Wearing
Gym
Socks
by
Charmaine
Olivia

75. ‹#›
ABOUT
75
PaulGolding
@pgolding
paulgolding.com
!
ChiefScientistandDirectorart.comLabs(consultant*)
!
*Thisisapersonalpresentation.