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Why Do We Hang Art (and Nests) On Our Walls?

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A brief examination of the psychology and motivations for hanging art on the walls inside our homes. From an "evolutionary biological" point of view, it serves no purpose.

Published in: Technology, Art & Photos
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Why Do We Hang Art (and Nests) On Our Walls?

  1. 1. WHY DO WE HANG ART (AND NESTS) ON OUR WALLS? (1.0) PaulGolding ChiefScientist&DirectorLabs,Art.com (Consultant) 1
  2. 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. 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. 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. 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. 6. ‹#› LET’SSTARTWITHTHEWALL… 6
  7. 7. ‹#› LET’SSTARTWITHTHEWALL… WHYNOTLEAVEITBLANK? 7
  8. 8. ‹#› WEKINDOF“GREWUP”LOOKINGATTHIS… FOR~80,000GENERATIONS (MODERNMAN~300GENERATIONSOLD) NOTEXACTLYBLANK VISTASTHATTRIGGERALLKINDSOFEMOTIONALRESPONSES INCLUDINGPLEASURE 8
  9. 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. 10. ‹#› LANDSCAPESAREPOPULARADORNMENTS THEYCANTRIGGERAFEELINGOF SECURITY,WHATJAYAPPLETONCALLS “PROSPECT&REFUGE”… ! TOSEEWITHOUTBEINGSEEN.A PROSPECTFROMWHICHTOSURVEY ANDATTHESAMETIMEENJOYREFUGE FROMITSPOTENTIALDANGERS. 10
  11. 11. ‹#› EXTENDSTOOTHERASPECTSOFNATURE WELIKETREESWITHLOW HANGINGBRANCHES. ! WELIKEABUNDANCEOFFRUITS ANDFLOWERS-BOTANICAL PATTERNS. ! ALLFROMOUR“SAVANNAPLAINS” ADAPTATIONALBAGGAGE. 11
  12. 12. ‹#› WEPAYGOODMONEYTO… LIVENEARTONATURE… ! AHOUSEBYTHESEA,AMOUNTAIN,RIVERSIDE,TREESETC. 12
  13. 13. ‹#› DIRECTPLEASURE… OURBRAINSINSTINCTIVELYRESPONDTOCERTAIN IMAGESWITHPLEASURE. ! WEPREFERPLEASURETOPAIN. ! SOWEADORNOURDAILYVIEW(HOMEWALLS) WITHPLEASURE-CAUSINGIMAGERY. ! ATAFUNDAMENTALANDSUPERFICIALLEVEL,WALL DECORISABOUTSATISFYINGTHERUDIMENTARY PLEASUREORGANSOFOURBRAINS. 13
  14. 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. 15. ‹#› DOWEHAVEANINSTINCTFORBEAUTY? YES.SEVERALEVOLUTIONARYADAPTATIONSMAKESOMEOBJECTSBEAUTIFUL. ! • FACIALBEAUTY-AVERAGEDFACESSIGNALGREATERGENETICDIVERSITY. • EXAGGERATEDSEXUALDIMORPHISMSIGNALSFITNESS. • SYMMETRYSIGNALSFITNESSUNDERVARIOUSCONDITIONS(ANDEASIER VISUALPROCESSING). • LANDSCAPES(ASMENTIONED)SIGNALSAFETY,NUTRITIONETC. • BEAUTYINABSTRACTOBJECTSTHATSIGNALABILITYTOREDUCECOMPLEX INFORMATIONTOUNDERSTANDABLENUGGETS. ! “BEAUTYISALOOSEENSEMBLEOFEVOLUTIONARYADAPTATIONS”-CHATTERJEE (THEAESTHETICBRAIN). 15
  16. 16. ‹#› BEAUTYCANBEABSTRACTEDTOFORM WELIKESYMMETRYINCIRCLES… ! WELIKEEARTHYANDVIBRANTCOLORS(MIMICNATURE)… ! NOMEANINGREQUIRED,NOPHYSICALREPRESENTATION ETC. ! JUSTFIRESOUR“PLEASUREINSTINCT” ! “CHEESECAKEFORTHEMIND”(PINKER,REFERRINGTO MUSIC,BUTSAMEIDEAAPPLIES). 16
  17. 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. 18. ‹#› BEAUTYEXTENDSTODECORHARMONY. COLORSCANHAVEPSYCHOLOGICALIMPACT-E.G.ORANGEIS“SUNNY”AND “HAPPY.” ! SOARTOPERATESONTHELEVELOFCOLORPLEASUREAND/ORFORM PLEASURE. ! BUT,COLORHARMONYWITHOTHERITEMSINROOMSATISFIESBEAUTY- INSTINCTFORSIMPLICITYANDSYMMETRY. ! DEPENDINGONTHEINDIVIDUAL,HARMONYCANSTIMULATEAMUCH GREATERPLEASUREINSTINCTTHANEACHITEM. 18
  19. 19. ‹#› 19 ART.COMLABS Decor  palettes An  experiment  in  discovering  art  by  decor  color  harmony.
  20. 20. ‹#› 20 ART.COMLABS Other  palettes
  21. 21. ‹#› ART.COMLABS 21 Color  as  story
  22. 22. ‹#› ART.COMLABS 22 ART.COMLABS See  in  the  context  of  the  palette
  23. 23. ‹#› BUT… ARTISN’TJUSTABOUTSHOWINGPATTERNS THATTRIGGEROURBEAUTYINSTINCTS… ! ARTCANBEABSTRACT,EVEN“UGLY”(INTHIS NARROWBIOLOGICALSENSE). ! ARTCANSPANMANYSUBJECTS,THEMES,IDEAS BEYONDTHE“BEAUTY”INSTINCTSOFTHEMIND. 23
  24. 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. 25. ‹#› DAVINCIANDPEACOCKS PLEASURECOMESINMANYFORMS. ! HUMANSAPPRECIATE“GOOD”ARTIN THESENSEOFADISPLAYOFFITNESS- I.E.SOMETHINGTHATISDIFFICULTTO DO-SKILL&VIRTUOSITY. ! LIKEPEACOCKPLUMAGEISASIGNAL FORMATINGFITNESS,THE PRODUCTIONOFART-THEDISPLAYOF VIRTUOSITY-INCREASESITSAPPEAL. 25
  26. 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. 27. ‹#› ESSENTIALISM HUMANBEINGSAREESSENTIALISTS-WEASSIGN (UNSEEN)ESSENCESTOOBJECTSTHATAFFECTTHEIR VALUE. ! MOSTPOTENTEXAMPLEISAREALIMAGEVERSUSA FAKE,ORREPRODUCTION.THEYARE,INALL“PHYSICAL” WAYS,IDENTICAL,EXCEPTTHEORIGINALHASTHE INVISIBLEESSENCEOFTHEHISTORYOFITSCREATION ANDPHYSICALRELATIONSHIPWITHITSCREATOR.BUT THAT’SNOTSOMETHINGYOUCANTELLBYLOOKINGATIT. 27
  28. 28. ‹#› ESSENTIALISM THEBOTTLEDWATERINDUSTRYISAGREATEXAMPLEOFESSENTIALISMATWORK. ! WEWILLPAYVASTLYDIFFERENTSUMSOFMONEYFORWHATISMOSTLYTHESAME PRODUCT-WATER. ! WEASSIGNINVISIBLEESSENCESTOAPRODUCTLIKEPERRIERVERSUS“ACMEX”WATER. ! THE(NORTHAMERICA)CEOOFPERRIERFAILED5TIMESTOIDENTIFYHISPRODUCTFROM OTHER(INFERIOR)BOTTLEDWATERS. ! WINETASTERSGIVENTHESAMEWINEANDTOLDDIFFERENTSTORIESABOUTITSORIGIN REPORTDIFFERENTTASTES,INFLUENCEDBYTHEINFORMATION,NOTTHETASTE. 28
  29. 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. 30. ‹#› WATERISASELF-HELPPRODUCT SOWHYDOWEDRINKEXPENSIVEWATER?WHATDOESTHEESSENCE DOFORUS? ! ITSIGNALSWEALTHANDPROSPERITY,WHICHREINFORCESPLEASURE ANDSECURITY. ! MOSTOFTEN,ITISASIGNALTOTHESELF,NOTOTHERS.“ICANAFFORD FINETHINGS.”ITMAKESUSFEELGOODABOUTOURSELVES.BOTTLED WATERISA“SELF-HELP”PRODUCTWITHNOTANGIBLEHEALTH BENEFITS. 30
  31. 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. 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. 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. 34. ‹#› CONSPICUOUSCONSUMPTION IREADGODEL,ESCHER,BACH(“AMSMART”). ! IREAD“THEGREATBOOKS”(“AMSOPHISTICATED”). ! I’VETRAVELLEDTOTUNISIA(“AMTRAVELLED”). ! I’MINTOCOFFEEANDWINE(“HAVETASTE”)
 -BUTPROBABLYFAILBLINDTASTETEST:) ! ANDOTHERESSENCESASSIGNALSTOSELF&OTHERS. 34
  35. 35. ‹#› CONSPICUOUSCONSUMPTION ORIGINALART. ! EXPENSIVE. ! SIGNALSWEALTH(TOOTHERS). ! IDENTICALPRINTHASNOSUCHVALUE. F.Mathieu  “Italian  Side”  ($57,000) 35
  36. 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. 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. 38. ‹#› REPRODUCTIONARTASCONTAGION? POSITIVECONTAGIONAS INSPIRATION… ! IFIHANGTHISART,IMIGHTIMBIBE ITS(ESSENCE)MESSAGE… ! IWILLBELIKESTEVEJOBS. 38
  39. 39. ‹#› ANOTEABOUTSOCIALCONTAGION STUDIESSHOWTHATEVENTHOSEWHORATETHEMSELVESAS “HIGHLYMORAL”WILLLIEIFTHEYSEETHEIRASSOCIATES GETTINGAWAYWITHLYING. ! WEAREMOREIMPRESSIONABLETHANWELIKETOTHINK, ESPECIALLYWITHPEERS. ! IT’SPOSSIBLETOINFLUENCETASTEVIASOCIALCONTAGION. ! NOTE:SOCIALRECOMMENDATIONSFROMFRIENDSAREMORE PUNGENTTHATGENERALSOCIALRECOMMENDATIONS. 39
  40. 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. 41. ‹#› WHATDOYOUSEE? TAKEYOURTIMETOSTUDYTHENEXTIMAGE ! BYMASTERPAINTERCLAUDEMONET. ! WHATDOYOUSEE? 41
  42. 42. ‹#› WHICHBRINGSUSTOMEANING 42
  43. 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. 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. 45. ‹#› ARTASSTORY Life  goes  on… 45
  46. 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. 47. ‹#› PERSONALPHOTOSTELLSTORIES 47 ARTDOESN’TREALLYHAVEABEGINNING,AMIDDLEANDANEND. ! PHOTOSDO.THERE’SABEFORE,DURINGANDAFTERFOREVERY SHOT. ! THERE’SAWHOLEBACKDROPTOTHEPICTURE. ! THERE’SANETWORKOFMEMORIES. ! ASSOCIATIONWITHAPOSITIVEMEMORY-ESSENCE. That’s  me  and  my  brother
  48. 48. ‹#› MEANINGAS“PACKAGING” ISITTHEDRINK? ! ORTHEPACKAGING? ! FORART,THESTORYISPACKAGING. ! ANDOTHERESSENCES. Which  is  the  “real”  thing? 48
  49. 49. ‹#› MEANINGAS“PACKAGING” MOREDESIGN-DRIVENINNOVATION. ! INSIGHT:PEOPLETENDTOPLAYWITHKITCHEN UTENSILS.(WE’VEALLFIDDLEDWITHACORK SCREW.) ! INNOVATEINDIRECTIONOFPLAYFULNESS. 49
  50. 50. ‹#› VANGO?NO.IT’SGOGH.THAT’S“GOCH”… WHYISHISARTSOPOPULARAMONGORDINARY SHOPPERSWHOKNOWLITTLEABOUTARTANDVAN “GO?” ! DOESN’TITLOOKLIKEAHIGH-SCHOOLERPAINTEDIT? ! WHATDOESANAVERAGE“JOE”KNOWABOUTVAN GOGHANDALLTHATHISAPPROACHENTAILEDAND MEANTTOTHEARTWORLD? ! NOTMUCH. 50
  51. 51. ‹#› UNIVERSALAESTHETIC? AREGOODPAINTINGSSIMPLYGOODPAINTINGS? ! THISHASBEENTESTEDWITHINCONCLUSIVE RESULTS. ! WEKNOWOFAUNIVERSAL“BEAUTY INSTINCT”(SEEEARLIER)BUTARTHASLONG SINCEEVOLVEDAWAYFROMBASIC“SAVANNA INSTINCT”FORMS(SEECHATTERJEE)ANDEVEN DELIBERATELYVIOLATESTHEM(STARSDON’T REALLYLOOKLIKETHIS,DOTHEY?) 51
  52. 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. 53. ‹#› EXPOSUREEFFECT THEREARENUMEROUSSTUDIESTHATSHOWHOWFAMILIARITY INCREASESOURLIKELIHOODOFLIKINGSOMETHING. ! THE“EXPOSUREEFFECT”HASBEENSHOWNTOWORKEVENFOR SHORTBURSTSOFTIME. ! STUDENTSSHOWNRELATIVELYUNKNOWNIMAGESINPASSING DURINGALECTUREWILLTHENFAVORTHEMINAESTHETICTEST LATERON. ! SIMILARRESULTSHAVEBEENOBTAINEDWITHEVENVERYBRIEF EXPOSURE. 53 I  recognize  this.
  54. 54. ‹#› UNIVERSALARTATTRIBUTES? INCIDENTALLY,WHATDOESAGOODPAINTING CONTAIN? ! NOONEKNOWSFORSURE,BUTATESTTO IDENTIFYVARIOUSIMAGEQUALITIES,FROMA RANGEOFVISUALNESSATTRIBUTES,SHOWED THATARTEXPERTSANDARTAMATEURSHAD SIMILARABILITIESTOIDENTIFYTHEATTRIBUTES. ! HOWEVER,ITTURNSOUT(FROMEYE-SCANNING) THATEXPERTSLOOKATARTDIFFERENTLY. 54
  55. 55. ‹#› UNIVERSALARTTASTE? ARETHEREARTATTRIBUTESTHATPEOPLEGENERALLYWANTOR LIKE,IRRESPECTIVEOFWHETHERORNOTTHEYBUYARTWITH THESEATTRIBUTES? ! KOMARANDMELAMID(EMIGREPAINTERSFROMRUSSIA) CONDUCTEDASTUDYCALLED“PAINTINGBYNUMBERS”THAT SURVEYEDTHOUSANDSOFPEOPLEFROMAWIDEVARIETYOF CULTURES. ! THEYFOUNDCOMMONATTRIBUTESTHATEVERYONELIKEDIN EACHCULTURE,ANDWHICHWERESURPRISINGLYCOMMON ACROSSCULTURES. ! SEENEXTSLIDEFORWHATAMERICANFOLKSLIKEDBEST. 55
  56. 56. ‹#› AMERICA’SMOSTWANTED(ARTATTRIBUTES) WHATGOVINDAND MELAMIDFOUNDIN THEIR“PAINTINGBY NUMBERS”STUDY. ! THISISWHAT AMERICANS WANTEDMOSTIN THEIRART. 56
  57. 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. 58. ‹#› HMMM.THISSTUFFKINDOFEXISTS. There’s  lots  of  it.
  59. 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. 60. ‹#› WALLDECORLIFECYCLE MOSTCOMMONEVENTTHATCAUSESWALL DECORTOBEHUNGIS… ! ABLANKWALL. ! MOSTFREQUENTLYCAUSEDBY… 1.MOVING 2.REDECORATING 3.MAJORDOMESTICEVENTS(E.G.DIVORCEOR KIDSFLEEINGTHENEST) 60
  61. 61. ‹#› ELEVATORMUSIC OVERTIME,WEBECOMEBLINDTODECOR-ITFADES INTOTHEBACKGROUND,LIKEELEVATORMUSIC. ! STUDYATUNIVERSITYOFCHICAGOREVEALEDTHAT PEOPLEHADLITTLETOSAYABOUTTHEIRWALL DECOR.NOSTORY.(SEE“MEANINGOFTHINGS”BY CSIKSZENTMIHALYI) ! THEYHADMORETOSAYABOUTTRINKETS,LIKE PLASTICEIFFELTOWERS,THATCOMEWITH PERSONALHISTORIES(INVISIBLEESSENCE). 61
  62. 62. ‹#› ENDOWMENTEFFECT USERSAREUNLIKELYTOSCRAPANDREPLACEART,EVEN WHENITHASPOTENTIALLYBECOME“BORING.” ! PEOPLEBECOMEPSYCHOLOGICALLYATTACHEDTOOBJECTS ANDINTEGRATETHEMINTOTHEIRSELF-“ENDOWMENT EFFECT” ! PEOPLEWILLPREFERSOMETHINGASMUNDANEASABEER MATTHEYCHOSEOVERANIDENTICALONE.PEOPLEPREFER THEIROWNORIGAMICREATION OVERABETTERONEMADE FORTHEM. ! PEOPLEBECOMEATTACHEDTOCOLLECTIONSOFTHINGS, INCLUDINGWALLDECOR. 62
  63. 63. ‹#› HOUSE+DECOR=HOME I  feel  at  home 63 EVENIFWEATTACH LITTLEEMOTIONAL WEIGHTANINDIVIDUAL DECORITEM, DECORATINGISOFTEN EMOTIONALLY SIGNIFICANT… ! ! ! IT’SCALLED HOMEMAKING.
  64. 64. ‹#› HOMEMAKINGSTARTSEARLY 64 EARLY(CHILDHOOD)RECOGNITIONOFTHEHUMANNEEDTOCLAIMSPACEBY CHANGINGTHEENVIRONMENT[SEEMARCUS-“HOMEASAMIRROROFSELF”]
  65. 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. 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. 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. 68. ‹#› SUMMINGUP-2 WEMIGHTHANGARTFORTHEFOLLOWINGREASONS: ! 13.THEARTHASASTORYESSENCETHATGIVESAPOSITIVEMEMORYASSOCIATION, ESPECIALLYPHOTOS 14.“EXPOSUREEFFECT”-BECAUSEWEAREFAMILIARWITHTHEARTANDIMBIBEAN INVISIBLEESSENCEOFASSUMEDIMPORTANCE,SIGNIFICANCEORRELEVANCE 15.WEIMBIBETHEINVISIBLEHISTORYESSENCEASSOCIATEDWITHTHECREATIONOF THEWORK,DUETOTHE“HANDOFTHECREATOR” 16.ITISINOURNATURETO“MAKEAHOME” 17.BECAUSEWEWANTTORECREATEASENSEOFHOMEREMEMBEREDFROMCHILDHOOD ! 68
  69. 69. ‹#› POSSIBLEFUTURERESEARCH IHAVEONLYSCRATCHEDTHESURFACEOFTHISFASCINATINGTOPIC,PLUSTHE MATERIALSHEREAREPRESENTEDVERYSUPERFICIALLY.THERE’SALOTMOREDEPTH (SEERECOMMENDEDRESOURCES). ! VARIOUSEXPERIMENTSCOULDBEDESIGNEDFORCONFIRMSOMEOFTHE CONTENTIONS. ! MAPPINGSOMEOFTHEEMOTIONALRESPONSESTOARTWOULDBEINTERESTING.I HAVEBEENREADINGMINSKY’S“EMOTIONMACHINE”ANDFOUNDSOMEUSEFUL VECTORSOFENQUIRY.HOFSTADTERSNEWBOOKALSOINTERESTING. ! 69
  70. 70. ‹#› WHATLESSONSDIDILEARN? HMMM. ! THATWOULDBETELLING. ! FORME,THERESEARCHHASSUGGESTEDVARIOUSDIRECTIONSOF INNOVATIONFORIMPROVINGWALLDECORE-COMMERCE. ! MAYBEYOU’LLSEESOMEOFTHEMATART.COM… ! 70
  71. 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. 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. 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. 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. 75. ‹#› ABOUT 75 PaulGolding @pgolding paulgolding.com ! ChiefScientistandDirectorart.comLabs(consultant*) ! *Thisisapersonalpresentation.

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