This study examined the relationship between contrast discrimination performance and aesthetic preference for black and white photographs. In the study, researchers manipulated the contrast levels in photographs by Ansel Adams and had participants rate the aesthetic appeal of the manipulated photographs. The results showed:
1) Participants generally preferred photographs with contrast levels similar to the original photograph.
2) Aesthetic preference decreased systematically as contrast levels moved further from the original.
3) Preferences were consistent across different types of photographs (portraits, landscapes, architecture) and did not depend on the spatial configuration or conceptual content of the photographs.
4) The results matched previous findings that contrast discrimination performance is better for photographs compared to grayscales, and suggest a relationship between discrimination
This document discusses email marketing services in India, including services offered like targeted prospects, feedback, and advertisement. Benefits of email marketing include low cost, being cost effective, easy tracking of responses, customer acceptance of ads, and speedy results. Email marketing allows for target-oriented marketing, brand building, and reasonable pricing packages ranging from 20,000 emails per month for 1,400 rupees to 20,00,000 emails annually for 32,900 rupees.
This study examined the associations between parental anxiety/depression and adolescent anxiety/depression, and whether adolescent self-esteem and physical activity moderate or mediate these associations. The study used data from over 5,700 Norwegian adolescents and their parents, collected over 10 years. Structural equation modeling found that parental anxiety/depression predicted adolescent anxiety/depression, and these associations were mediated by current parental symptoms and adolescent self-esteem. Physical activity moderated the association between maternal anxiety/depression and adolescent symptoms. Overall, the findings suggest familial aggregation of anxiety/depression over 10 years and that adolescent self-esteem and physical activity may influence this transmission.
Este documento presenta un calendario de actividades turísticas y culturales para el mes de agosto en el área de Paraná, Entre Ríos. Incluye festivales, competencias deportivas, espectáculos musicales, obras de teatro, ferias y más. Algunos eventos destacados son el 13o Festival Internacional de Títeres, el 6o Torneo Nacional de Maxivoley, la apertura del 9o Muestra de Teatro por la Identidad, y la 5a Fecha del Campeonato de Stand Up Paddle. El calendario ofrece una vari
The document provides advice for adopting new technology by cautioning that it is difficult to implement new tech successfully. It recommends taking new technology slowly, getting feedback before purchasing, and providing training to users. The document also notes benefits of software as a service (SaaS) like low costs, automatic upgrades, and scalability, while warning against relying only on spreadsheets and suggesting getting help from experts.
This short document promotes creating presentations using Haiku Deck, a tool for making slideshows. It encourages the reader to get started making their own Haiku Deck presentation and sharing it on SlideShare. In just one sentence, it pitches the idea of using Haiku Deck to easily create engaging slideshows.
This document discusses email marketing services in India, including services offered like targeted prospects, feedback, and advertisement. Benefits of email marketing include low cost, being cost effective, easy tracking of responses, customer acceptance of ads, and speedy results. Email marketing allows for target-oriented marketing, brand building, and reasonable pricing packages ranging from 20,000 emails per month for 1,400 rupees to 20,00,000 emails annually for 32,900 rupees.
This study examined the associations between parental anxiety/depression and adolescent anxiety/depression, and whether adolescent self-esteem and physical activity moderate or mediate these associations. The study used data from over 5,700 Norwegian adolescents and their parents, collected over 10 years. Structural equation modeling found that parental anxiety/depression predicted adolescent anxiety/depression, and these associations were mediated by current parental symptoms and adolescent self-esteem. Physical activity moderated the association between maternal anxiety/depression and adolescent symptoms. Overall, the findings suggest familial aggregation of anxiety/depression over 10 years and that adolescent self-esteem and physical activity may influence this transmission.
Este documento presenta un calendario de actividades turísticas y culturales para el mes de agosto en el área de Paraná, Entre Ríos. Incluye festivales, competencias deportivas, espectáculos musicales, obras de teatro, ferias y más. Algunos eventos destacados son el 13o Festival Internacional de Títeres, el 6o Torneo Nacional de Maxivoley, la apertura del 9o Muestra de Teatro por la Identidad, y la 5a Fecha del Campeonato de Stand Up Paddle. El calendario ofrece una vari
The document provides advice for adopting new technology by cautioning that it is difficult to implement new tech successfully. It recommends taking new technology slowly, getting feedback before purchasing, and providing training to users. The document also notes benefits of software as a service (SaaS) like low costs, automatic upgrades, and scalability, while warning against relying only on spreadsheets and suggesting getting help from experts.
This short document promotes creating presentations using Haiku Deck, a tool for making slideshows. It encourages the reader to get started making their own Haiku Deck presentation and sharing it on SlideShare. In just one sentence, it pitches the idea of using Haiku Deck to easily create engaging slideshows.
This document discusses a study that examined how contrast is perceived differently in grayscale images versus photographs. The study compared people's ability to discriminate contrast increments applied to tonal regions in grayscale scales and categories of black and white nature photographs. Previous research on lightness perception was discussed, showing it involves both low-level and high-level processing. The study aimed to understand the roles of local and global elements in lightness perception and object recognition of meaningful images. Ansel Adams photographs were used as stimuli since his zone system technique manipulated local contrasts to emphasize different regions. The results found differences in responses to contrast increments depending on the region, but no significant effect of photograph category.
Physics lab report sample from assignmentsupport.com essay writing services https://writeessayuk.com/
This study investigated how colour and luminance interact in human visual perception of depth. Participants viewed stimuli consisting of combinations of chromatic and luminance gratings and adjusted the apparent depth. The results showed that chromatic gratings produced significantly greater perceived depth than achromatic gratings. Perceived depth was also greater for gratings that were out of phase compared to in phase, though the difference was not statistically significant. Perceived depth decreased with increasing spatial frequency and was not significantly different for drifting vs static images. The findings provide insights into how colour contributes to the human visual system's perception of depth and shape from shading.
Measuring pictorial balance perception at first glance using Japanese Calligr...Sharon Gershoni
The document describes three experiments that examine rapid perception of pictorial balance in Japanese calligraphy images during first fixation. In the first two experiments, participants rated the balance of calligraphy images presented briefly and then masked, and also directly compared image balances. Results from these tasks were compared to assessments from an established balance computation model (APB). A third experiment repeated the rating task with rotated images. Overall results showed correlations between rating tasks but not with APB scores. Rotation dramatically impacted ratings, especially for art experts. This suggests balance processing during first fixation relies on global features like grouping, shapes, and symmetry rather than just element positions as assumed by APB. Expertise influences early balance perception.
1) The document discusses an experiment conducted at the University of Arizona Museum of Art to determine the optimal lighting conditions for displaying Mark Rothko's painting "Green on Blue".
2) Museum staff partnered with students from the College of Optical Sciences to survey visitors' preferences for the color temperature of lights shining on the painting, with responses ranging from 2750K to 4500K.
3) The experiment revealed that visitors' preferences varied depending on how the lighting options were presented, and that no single temperature was a clear majority favorite. It also made the museum staff realize lighting can fundamentally change the viewing experience of a painting.
Pupillary responses in art appreciation effects of aesthetic emotionsAhmad Faizul
1. The authors examined how aesthetic emotions are affected by the processing fluency of cubist paintings. Paintings were grouped by their level of processing fluency based on ratings of abstractness.
2. Subjects were asked to press a button when they recognized an object depicted in each painting. Recognition times were shortest for high processing fluency paintings, which were also preferred more.
3. Pupillary responses after object recognition were larger for high processing fluency paintings, suggesting higher aesthetic emotions associated with easier processing. The findings support theories that link positive emotions to processing fluency in art appreciation.
This document summarizes research on how the presentation of instructional material through different color combinations can impact learning. An experiment was conducted with students where educational content was presented with various color combinations of text and background. The results showed that some combinations, like black text on a yellow background or blue text on white, led to higher rates of content assimilation and interest compared to other combinations. The document analyzes the physics of light and color, and how color perception psychologically impacts mood and learning. It provides recommendations for using specific color combinations to optimize the presentation of information.
Heisler sam crit_presentation(09.11.2012)samheisler
This document outlines a BA honors project to develop skills in drawing, design, staging, lighting, and color. The project involves researching techniques from films, animation, and art books. It will then apply this research by designing a series of concept images capturing different moods and atmospheres through experimentation with staging and lighting. The final product will communicate emotions visually while documenting the process to help others improve similar skills.
Three-dimensional perception and aging (MSc research project)Nikolaos Ziakas
.Abstract
Our world is consisted of three-dimensional (3D) objects, which can be grouped, because light source position influences their features, such as orientation and color (Ramachandran, 1988). For example, when the orientation of a 3D object is changed, then the light source direction can cause important changes to the perception of object’s shape. The hemispheric lateralization of the visual system helps us to understand better the 3D structures of our world. My research was based on the conduction of a light source computer-experiment and a face recognition computer-experiment. In the first computer-experiment, we hypothesized that old participants will show reduced light source bias because of the effect of aging on the hemispheric lateralization. The results showed that the old participants presented smaller light source bias compared to strong left light source bias of the young participants. In the second experiment, we hypothesized that older people will present smaller bias in the visual perception tasks compared to the young participants because of aging. The results showed the significant role of the right hemisphere in the development of bias in the visual perceptual processes, which allows young participants to indicate decreased levels of reaction time during visual perception tasks, such as depth perception, attention processing, shape perception and face recognition tasks.
Color is a psychological property resulting from the interaction between physical light and our visual system. The human eye contains photoreceptor cells (rods and cones) that are sensitive to different wavelengths of light and allow us to perceive color. Color matching experiments showed that any color can be matched using just three primary colors, forming the basis of trichromatic color theory. Various color spaces like RGB and CIE XYZ were developed to provide standardized ways to represent color using three values. The human visual system also exhibits color constancy, allowing us to perceive the intrinsic color of objects despite changes in lighting conditions.
Is there a difference in the pattern of eye movements during visual imagery w...James Allen
This study investigated differences in eye movement patterns during visual imagery of spatial versus object information. 20 subjects viewed arrays of 4 shapes and were asked to recall either the location ("where") or attribute ("what") of a shape. Eye movements were recorded during recall and when simply imagining shapes. Recall of spatial information elicited significantly longer fixations and more fixations in the correct location compared to recall of object information. Subjects' visual working memory did not interact with eye movements. The results provide evidence that visual imagery of spatial and object information interacts differently with eye movements and the brain processes these types of information differently.
Liu Natural Scene Statistics At Stereo FixationsKalle
We conducted eye tracking experiments on naturalistic stereo images presented through a haploscope, and found that fixated
luminance contrast and luminance gradient were generally higher than randomly selected luminance contrast and luminance gradient, which agrees with previous literature. However we also found that the fixated disparity contrast and disparity gradient were generally lower than randomly selected disparity contrast and disparity gradient. We discuss the implications of this remarkable
result.
Jinsil Seo's research aims to explore the meaning of immersion in interactive immersive art installations through phenomenological methods. The paper discusses prior works in the field, Seo's definition of immersion as the integration of mind, body and environment, and her focus on "flows" due to her Korean cultural background. For her research, Seo will create tactile light installations and collect first, second, and third person data on participants' experiences to analyze phenomenologically rather than through traditional scientific positivism.
Collage Portraits as a Method of Analysis in Qualitative ResearchSeha Shaharudin
This document summarizes the use of collage portraits as a method of analysis in qualitative research. It discusses how the researcher created collage portraits based on interviews with three family members about their participation in constructing an art installation on their family's former property. The collage portraits were intended to enhance understanding of the impact of the art project by incorporating a visual method of analysis. The document provides background on collage and portraiture as art forms and qualitative research methods. It also discusses the researcher's role as both participant observer and artist in creating the collage portraits based on interview transcripts, photographs, and archival materials provided by the participants.
Examining perceptions of astronomy images across mobile platformsKim Arcand
In a recent Aesthetics & Astronomy study, an online survey and focus groups were used to explore whether mobile platforms affect perception of astronomy images. In the online study, participants on their mobile devices were randomly assigned to view astronomy images. Two focus groups were also conducted with experts and non-expert volunteers. Both groups were presented with deep space images across platforms- a large projection screen, an iPad, and an iPhone. Although this was part of a larger study, we report here just on the mobile platform. Results indicated that there was support for Smith & Smith's 2001 concept of facsimile accommodation in that, as might be expected, bigger was better except in the absence of a comparison, where participants adapted to the platform size. The results raise questions as to both size and quality of images on mobile platforms in a rapidly changing technological world.
Israeli and Palestinian children ages 9-14 from Jerusalem and Beit Jala worked together on a play about a peaceful prophecy from the Bible. To overcome language and cultural barriers, the children shared stories and fears through activities to build trust. However, due to a terror attack, the Palestinian children could not travel to meet the Israeli children. They continued collaborating through an online art workshop where they drew objects with positive and negative meanings. The children learned biblical passages and chose characters for the play that were ordinary people instead of leaders, including a corrupt taxi driver and grumpy hotel owner. The stage included a large drawing of Jerusalem and props to bring the prophecy of peace to the city to life.
Sharon Gershoni's photography exhibit features images that are created through an experimental process of manipulating a single photograph. The finished prints multiply the original image over 128 times, creating intricate patterns and depth. The works reference natural and architectural subjects, pulling the viewer in with their rich detail. They also reflect Gershoni's background in neuroscience, inviting viewers to perceive new shapes and meanings within the interlocking details. While complex visually, the works also carry emotion, with burned landscapes becoming elegies and colorful botanical images offering lush mandalas.
The Drinker Family Papers ledger from 1773-1775 was in poor condition, with a missing front cover and spine, detached back cover, and many torn and split pages. The ledger underwent conservation work including cleaning, mending tears with Japanese paper, attaching new end papers, and sawing the ledger into two separate volumes which received new cloth covers. The repaired ledger and detached back cover were housed in an archival box.
Mirror neurons are neurons that fire both when an individual performs an action and when they observe the same action performed by another. Research has found that mirror neurons are activated during aesthetic experiences like viewing works of art. They help us understand others by simulating their emotions, actions, and intentions. When we view art, our mirror neuron system represents what we see and helps us empathize with the feelings and experiences being portrayed. This allows us to derive meaning and enjoyment from works of art through our own embodied simulations of the actions, emotions, and experiences depicted.
Mu&Ma (無と間) in Japanese Art and Visual PerceptionSharon Gershoni
This document provides an outline and overview of the key Zen Buddhist concepts of "Mu" and "Ma" and their relationship to visual perception and Japanese ink paintings. It discusses Mu as representing "no-thing" and "no-image" and as going beyond dualistic and oppositional thinking. It explores Ma as representing a state of "timelessness-spacelessness" and an integrated experience of time and space. The document then examines how these concepts relate to visual phenomena like blindsight and saccadic suppression. It provides examples of Japanese ink paintings that illustrate Mu and Ma, including various Daruma paintings.
This document describes a series of workshops on interpreting biblical stories through art led by Dr. Sharon Gershoni. The workshops will examine how artists over centuries have understood and represented well-known biblical tales, using the stories to comment on humanity and society. Participants will read traditional biblical stories and review Jewish, Christian, and Muslim artwork spanning over a millennium to gain new insights into the stories. Specific workshops will analyze artistic depictions of stories like the binding of Isaac, the first murder of Cain and Abel, how God has been perceived visually over time, and the journey of Jonah.
This document discusses a study that examined how contrast is perceived differently in grayscale images versus photographs. The study compared people's ability to discriminate contrast increments applied to tonal regions in grayscale scales and categories of black and white nature photographs. Previous research on lightness perception was discussed, showing it involves both low-level and high-level processing. The study aimed to understand the roles of local and global elements in lightness perception and object recognition of meaningful images. Ansel Adams photographs were used as stimuli since his zone system technique manipulated local contrasts to emphasize different regions. The results found differences in responses to contrast increments depending on the region, but no significant effect of photograph category.
Physics lab report sample from assignmentsupport.com essay writing services https://writeessayuk.com/
This study investigated how colour and luminance interact in human visual perception of depth. Participants viewed stimuli consisting of combinations of chromatic and luminance gratings and adjusted the apparent depth. The results showed that chromatic gratings produced significantly greater perceived depth than achromatic gratings. Perceived depth was also greater for gratings that were out of phase compared to in phase, though the difference was not statistically significant. Perceived depth decreased with increasing spatial frequency and was not significantly different for drifting vs static images. The findings provide insights into how colour contributes to the human visual system's perception of depth and shape from shading.
Measuring pictorial balance perception at first glance using Japanese Calligr...Sharon Gershoni
The document describes three experiments that examine rapid perception of pictorial balance in Japanese calligraphy images during first fixation. In the first two experiments, participants rated the balance of calligraphy images presented briefly and then masked, and also directly compared image balances. Results from these tasks were compared to assessments from an established balance computation model (APB). A third experiment repeated the rating task with rotated images. Overall results showed correlations between rating tasks but not with APB scores. Rotation dramatically impacted ratings, especially for art experts. This suggests balance processing during first fixation relies on global features like grouping, shapes, and symmetry rather than just element positions as assumed by APB. Expertise influences early balance perception.
1) The document discusses an experiment conducted at the University of Arizona Museum of Art to determine the optimal lighting conditions for displaying Mark Rothko's painting "Green on Blue".
2) Museum staff partnered with students from the College of Optical Sciences to survey visitors' preferences for the color temperature of lights shining on the painting, with responses ranging from 2750K to 4500K.
3) The experiment revealed that visitors' preferences varied depending on how the lighting options were presented, and that no single temperature was a clear majority favorite. It also made the museum staff realize lighting can fundamentally change the viewing experience of a painting.
Pupillary responses in art appreciation effects of aesthetic emotionsAhmad Faizul
1. The authors examined how aesthetic emotions are affected by the processing fluency of cubist paintings. Paintings were grouped by their level of processing fluency based on ratings of abstractness.
2. Subjects were asked to press a button when they recognized an object depicted in each painting. Recognition times were shortest for high processing fluency paintings, which were also preferred more.
3. Pupillary responses after object recognition were larger for high processing fluency paintings, suggesting higher aesthetic emotions associated with easier processing. The findings support theories that link positive emotions to processing fluency in art appreciation.
This document summarizes research on how the presentation of instructional material through different color combinations can impact learning. An experiment was conducted with students where educational content was presented with various color combinations of text and background. The results showed that some combinations, like black text on a yellow background or blue text on white, led to higher rates of content assimilation and interest compared to other combinations. The document analyzes the physics of light and color, and how color perception psychologically impacts mood and learning. It provides recommendations for using specific color combinations to optimize the presentation of information.
Heisler sam crit_presentation(09.11.2012)samheisler
This document outlines a BA honors project to develop skills in drawing, design, staging, lighting, and color. The project involves researching techniques from films, animation, and art books. It will then apply this research by designing a series of concept images capturing different moods and atmospheres through experimentation with staging and lighting. The final product will communicate emotions visually while documenting the process to help others improve similar skills.
Three-dimensional perception and aging (MSc research project)Nikolaos Ziakas
.Abstract
Our world is consisted of three-dimensional (3D) objects, which can be grouped, because light source position influences their features, such as orientation and color (Ramachandran, 1988). For example, when the orientation of a 3D object is changed, then the light source direction can cause important changes to the perception of object’s shape. The hemispheric lateralization of the visual system helps us to understand better the 3D structures of our world. My research was based on the conduction of a light source computer-experiment and a face recognition computer-experiment. In the first computer-experiment, we hypothesized that old participants will show reduced light source bias because of the effect of aging on the hemispheric lateralization. The results showed that the old participants presented smaller light source bias compared to strong left light source bias of the young participants. In the second experiment, we hypothesized that older people will present smaller bias in the visual perception tasks compared to the young participants because of aging. The results showed the significant role of the right hemisphere in the development of bias in the visual perceptual processes, which allows young participants to indicate decreased levels of reaction time during visual perception tasks, such as depth perception, attention processing, shape perception and face recognition tasks.
Color is a psychological property resulting from the interaction between physical light and our visual system. The human eye contains photoreceptor cells (rods and cones) that are sensitive to different wavelengths of light and allow us to perceive color. Color matching experiments showed that any color can be matched using just three primary colors, forming the basis of trichromatic color theory. Various color spaces like RGB and CIE XYZ were developed to provide standardized ways to represent color using three values. The human visual system also exhibits color constancy, allowing us to perceive the intrinsic color of objects despite changes in lighting conditions.
Is there a difference in the pattern of eye movements during visual imagery w...James Allen
This study investigated differences in eye movement patterns during visual imagery of spatial versus object information. 20 subjects viewed arrays of 4 shapes and were asked to recall either the location ("where") or attribute ("what") of a shape. Eye movements were recorded during recall and when simply imagining shapes. Recall of spatial information elicited significantly longer fixations and more fixations in the correct location compared to recall of object information. Subjects' visual working memory did not interact with eye movements. The results provide evidence that visual imagery of spatial and object information interacts differently with eye movements and the brain processes these types of information differently.
Liu Natural Scene Statistics At Stereo FixationsKalle
We conducted eye tracking experiments on naturalistic stereo images presented through a haploscope, and found that fixated
luminance contrast and luminance gradient were generally higher than randomly selected luminance contrast and luminance gradient, which agrees with previous literature. However we also found that the fixated disparity contrast and disparity gradient were generally lower than randomly selected disparity contrast and disparity gradient. We discuss the implications of this remarkable
result.
Jinsil Seo's research aims to explore the meaning of immersion in interactive immersive art installations through phenomenological methods. The paper discusses prior works in the field, Seo's definition of immersion as the integration of mind, body and environment, and her focus on "flows" due to her Korean cultural background. For her research, Seo will create tactile light installations and collect first, second, and third person data on participants' experiences to analyze phenomenologically rather than through traditional scientific positivism.
Collage Portraits as a Method of Analysis in Qualitative ResearchSeha Shaharudin
This document summarizes the use of collage portraits as a method of analysis in qualitative research. It discusses how the researcher created collage portraits based on interviews with three family members about their participation in constructing an art installation on their family's former property. The collage portraits were intended to enhance understanding of the impact of the art project by incorporating a visual method of analysis. The document provides background on collage and portraiture as art forms and qualitative research methods. It also discusses the researcher's role as both participant observer and artist in creating the collage portraits based on interview transcripts, photographs, and archival materials provided by the participants.
Examining perceptions of astronomy images across mobile platformsKim Arcand
In a recent Aesthetics & Astronomy study, an online survey and focus groups were used to explore whether mobile platforms affect perception of astronomy images. In the online study, participants on their mobile devices were randomly assigned to view astronomy images. Two focus groups were also conducted with experts and non-expert volunteers. Both groups were presented with deep space images across platforms- a large projection screen, an iPad, and an iPhone. Although this was part of a larger study, we report here just on the mobile platform. Results indicated that there was support for Smith & Smith's 2001 concept of facsimile accommodation in that, as might be expected, bigger was better except in the absence of a comparison, where participants adapted to the platform size. The results raise questions as to both size and quality of images on mobile platforms in a rapidly changing technological world.
Similar to How We Look At Photographs (JIS&T) (14)
Israeli and Palestinian children ages 9-14 from Jerusalem and Beit Jala worked together on a play about a peaceful prophecy from the Bible. To overcome language and cultural barriers, the children shared stories and fears through activities to build trust. However, due to a terror attack, the Palestinian children could not travel to meet the Israeli children. They continued collaborating through an online art workshop where they drew objects with positive and negative meanings. The children learned biblical passages and chose characters for the play that were ordinary people instead of leaders, including a corrupt taxi driver and grumpy hotel owner. The stage included a large drawing of Jerusalem and props to bring the prophecy of peace to the city to life.
Sharon Gershoni's photography exhibit features images that are created through an experimental process of manipulating a single photograph. The finished prints multiply the original image over 128 times, creating intricate patterns and depth. The works reference natural and architectural subjects, pulling the viewer in with their rich detail. They also reflect Gershoni's background in neuroscience, inviting viewers to perceive new shapes and meanings within the interlocking details. While complex visually, the works also carry emotion, with burned landscapes becoming elegies and colorful botanical images offering lush mandalas.
The Drinker Family Papers ledger from 1773-1775 was in poor condition, with a missing front cover and spine, detached back cover, and many torn and split pages. The ledger underwent conservation work including cleaning, mending tears with Japanese paper, attaching new end papers, and sawing the ledger into two separate volumes which received new cloth covers. The repaired ledger and detached back cover were housed in an archival box.
Mirror neurons are neurons that fire both when an individual performs an action and when they observe the same action performed by another. Research has found that mirror neurons are activated during aesthetic experiences like viewing works of art. They help us understand others by simulating their emotions, actions, and intentions. When we view art, our mirror neuron system represents what we see and helps us empathize with the feelings and experiences being portrayed. This allows us to derive meaning and enjoyment from works of art through our own embodied simulations of the actions, emotions, and experiences depicted.
Mu&Ma (無と間) in Japanese Art and Visual PerceptionSharon Gershoni
This document provides an outline and overview of the key Zen Buddhist concepts of "Mu" and "Ma" and their relationship to visual perception and Japanese ink paintings. It discusses Mu as representing "no-thing" and "no-image" and as going beyond dualistic and oppositional thinking. It explores Ma as representing a state of "timelessness-spacelessness" and an integrated experience of time and space. The document then examines how these concepts relate to visual phenomena like blindsight and saccadic suppression. It provides examples of Japanese ink paintings that illustrate Mu and Ma, including various Daruma paintings.
This document describes a series of workshops on interpreting biblical stories through art led by Dr. Sharon Gershoni. The workshops will examine how artists over centuries have understood and represented well-known biblical tales, using the stories to comment on humanity and society. Participants will read traditional biblical stories and review Jewish, Christian, and Muslim artwork spanning over a millennium to gain new insights into the stories. Specific workshops will analyze artistic depictions of stories like the binding of Isaac, the first murder of Cain and Abel, how God has been perceived visually over time, and the journey of Jonah.
2. sponse to contrast increments, depending on where in the
characteristic curve (i.e., shadow, highlight, or midtones)
they were applied. On the other hand, we reported no sig-
nificant effect of category (portrait, landscape, and architec-
ture). In addition we found that low performances in the
shadow region of gray scales significantly improved in pho-
tograph which we related to the differences in configuration
complexity. We also reported differences in performance be-
tween photographs of light and night scenes. These results
raised an assumption that the differences in spatial configu-
ration complexity, and not the conceptual content of the
photographs, improved contrast detection performance.
A possible explanation is provided by the “anchoring
theory of lightness perception.”13
Photographs depicting
natural objects contain much more complex and articulated
information than gray scales, thus local frameworks weigh
more than global frameworks, which results in improved
lightness constancy and better performance in contrast dis-
crimination tasks. These findings are also in line with recent
psychophysical measurements of threshold versus contrast
for images of natural scenes where image whitening yielded
lower contrast discrimination threshold than high contrast
images.14
Since looking at photographs is a visual task involving
an aesthetic experience, a question of interest is: What is the
relationship between the contrast discrimination, reported
above, and the aesthetically preferred contrast reproduction
of photographs. Recent studies claimed similar to the results
reported above that there is no effect of context such as pose
and shape of objects on processes such as lightness
constancy.15
Opposing suggestions are that contextual infor-
mation does affects processes such as global form
perception.16
According to this view, one could expect contrast to
influence the content of photographs and their aesthetic ap-
peal. Therefore, the question asked in the present study was
about the relationship between the conceptual content of
photographs and their contrast preference.
Moreover, should there indeed be a common rule for
both execution of art and its appreciation, then one could
expect similarity in the preferences of viewers and
photographers,17,18
(see also: Discussion). Therefore, this
study examines the relationship between the preferred con-
trast reproduction and the “original” (unaltered) reproduc-
tion, which may reflect on the photographer’s preference
versus the viewer preference.
EXPERIMENT
Stimuli
Eight black-and-white photographs from the “Photographs
of the Southwest” book by Ansel Adams19
were used as
stimuli for the present study:
1. “Spanish Peaks, Colorado,” 1951, p. 18;
2. “Canyon de Chelly, National Monument, Arizona,”
1947, p. 30;
3. “Moonrise, Hernandez, New-Mexico,” 1944, p. 55;
4. “Navajo Woman, Wide Ruin, Arizona,” 1948, p. 39;
5. “Maynard Dixon, Painter, Tucson, Arizona,” 1944, p.
16;
6. “Martha Porter, Pioneer Woman, Ordeville, Utah,”
1961, p. 81;
7. “Adobe Dwellings, Northern New-Mexico,” 1958, p.
49; and
8. “Arches, North Court, Mission San Xavier del Bac,
Tucson, Arizona,” 1968, p. 94.
The photographs selected belong to three major themes in
photography: Landscape (photographs Nos. 1, 2, and 3), Por-
trait (Nos. 4, 5, and 6), and Architecture (Nos. 7, 8, and 9).
These themes represent Ansel Adams’ work in general, and
the selected photographs are among his well-known and re-
produced works. It is important to note that photographs
selected as stimuli were of various configuration complexi-
ties, articulation, depth, and tonal relationships, etc.
Stimuli Reproduction Process
The goal of the reproduction process was to alter the shadow
(SH), highlight (HI), and midtone (MT) contrasts of the
eight selected images. An Epson GT-9700 flatbed scanner
was used to scan the book pages. The scanning pixels-per-
inch (ppi) was 400. The ppi was chosen to match the print-
ing system output resolution (Lambda printing system, see
explanation below). For calibration of the reproduction sys-
tem, the density of a Kodak standard gray-scale and its re-
production were measured using a Sakura PDA 8112 reflec-
tion densitometer and plotted against each other to assure a
linear relationship between the reflection densities.
Image files for the various highlight, midtone and
shadow contrasts were generated using Adobe Photoshop®
Curve function in the Adjustments menu. The horizontal
axis of the curve graph represents the original brightness
values of the pixels (input levels); the vertical axis represents
the new brightness levels (output levels). The curve displays
either brightness values from 0 to 255, with the shadows on
the left, or values from 0% to 100% with shadows on the
right. The default diagonal line shows that all pixels have the
same input and output values.
In order to alter contrast, two anchor/drag points were
established on the diagonal line:
1. to alter shadow contrasts: ͑XSH=75% ,YSH=75%͒;
2. to alter highlight contrasts: ͑XHI=25% ,YHI=25%͒;
and
3. to alter midtone contrasts both highlight and shadow
anchor points were established: ͑XHI=25% ,YHI
=25%͒,͑XSH=75% ,YSH=75%͒.
A 2% contrast increment, for each of the reproduction sets,
was achieved by pulling the anchoring point in one of the
following directions:
1. shadow: ͑XSH+2=XSH+2% ,YSH+2=YSH−2%͒;
2. highlight: ͑XHI+2=XHI−2% ,YHI+2=YHI+2%͒; and
3. midtone: ͑XHI+2=XHI+2% ,YHI+2=YHI−2%͒,
͑XSH+2=XSH−2% ,YSH+2=YSH+2%͒.
Gershoni and Kobayashi: How we look at photographs as indicated by contrast discrimination performance
J. Imaging Sci. Technol. 50͑4͒/Jul.-Aug. 2006 321
3. For each of the three sets of reproductions (“HI,” “SH,”
and “MT”) contrast increment ranged between 2% and 10%
in steps of 2%, named sample Nos. 2–10 accordingly.
The densities of the photographs are represented by
Kodak standard gray scale reproduction sets, which were
measured using a reflection densitometer, and plotted
against the original gray scale, as shown in Figs. 1(a) (HI and
SH) and 1(b) (MT).
A total of 128 photographic prints were produced by
Lambda system using a conventional black-and-white silver
process. Lambda prints are made on a Durst Lambda
printer, which uses three colored lasers to expose traditional
photographic media. These prints have the advantage of us-
ing the same rich red-green-blue (RGB) color space em-
ployed by computer monitors. In addition, these prints are
free of dots since unlike inkjet printers, the laser outputs are
continuously modulated rather than switched on and off.
Their 400 dpi resolution is comparable to 1200 dpi screened
output.
Participants
Thirty subjects male and female (in 3:1 ratio) aged between
20 and 30 participated in the experiment. 46% of the par-
ticipants were either familiar with the photographer or re-
ported to have previously seen the photographs used as
stimuli.
Illumination Source
The light source was a Toshiba natural color evaluation
lamp, 5000 K, 700 lux. Light source was overhead with re-
spect to the viewing area. Observation distance and angle:
not designated.
Procedure
Each photograph and its reproductions composed a set of 16
stimuli. The stimuli were presented on a table in a rectan-
gular arrangement of a random order of contrasts, as shown
in Fig. 2 with no indication of the unaltered original photo-
graph (OR), or any other standard.
Participants were requested to evaluate the aesthetic ap-
Figure 1. a. Characteristic curves for stimuli with 2–10% contrast increment in regions HI and SH. b.
Characteristic curve for stimuli with 2–10% contrast increment in region MT.
Gershoni and Kobayashi: How we look at photographs as indicated by contrast discrimination performance
322 J. Imaging Sci. Technol. 50͑4͒/Jul.-Aug. 2006
4. peal of each sample according to a one-dimensional prefer-
ence scale between 1 and 5, in which 1 is the lowest
evaluation—“most dislike,” 2—“dislike,” 3—“neither like
nor dislike,” 4—“like,” and 5 is the highest evaluation—“like
best.”
Results
Evaluation ratios, on the 1–5 preference scale, for the pho-
tographs of each category (portraits, landscape, and archi-
tecture), were separately calculated, as a function of the tone
regions (HI, SH, and MT). Within each region five contrast
increments of 2% were indicated as sample Nos. 2–10 as
shown in Fig. 3. The graph shows that preference was high-
est for OR, and decreased systematically with contrast incre-
ment in all regions (HI, SH, and MT) and all categories.
This pattern of decreasing preference showed some varia-
tions, which could be dependent on either category variance
or the tone regions. In order to investigate which of these
variables accounted for the observed differences, mean aver-
age preferences were calculated for the categories and for the
regions.
The mean average preferences for categories were: 2.90
for portraits, 2.88 for landscapes, and 2.88 for architecture as
shown in Fig. 4(a). These results indicated that contrast pref-
erence was similar across the different categories. In order to
confirm these observations, a two way analysis of variance
(ANOVA), with categories (portrait versus landscape versus
architecture) and contrast increments (OR vs 2% vs 4%…vs
10%) as variables, was conducted. In this and all other sta-
tistical tests, ␣=0.05 and the 95% confidence interval were
used for significance. The effect of category was not signifi-
cant ͓F͑2,58͒=0.05͔,p=0.89. This reflects that there was no
differential effect of category over preference of contrast.
Moreover, comparison between photographs within category
did not show significant difference either ͓F͑2,58͒=1.78͔,
p=0.065. Mean average preferences for regions were: 2.6 for
HI, 2.7 for MT, and 3.1 for SH as shown in Fig. 4(b). A two
way ANOVA, with regions (HI vs SH vs MT) and contrast
increments (OR vs 2% vs 4%…vs 10%) as variables, re-
vealed that although the effect of regions over preference was
not substantial, it was significant ͓F͑2,58͒=11.94͔ with p
Ͻ0.0001.
These results are in line with previous experiments in
which the ability to perform contrast discrimination was
measured for the same stimuli (see: Introduction). There,
contrast discrimination was not affected by category, but de-
termined by the discrete tonal regions in which contrast al-
teration occurred. In fact, the present results show that the
preference pattern is an inversion of the contrast discrimi-
nation pattern, the higher the contrast discrimination ratio,
the lower the preference.
It is important to note that although contrast discrimi-
nation ratio for MT was found to be significantly higher
than that for the other regions, preference for MT was not
the lowest one could expect, as shown in Fig. 5. The figure
shows the effect of tonal region (HI vs SH vs MT vs OR)
over mean contrast preference.
Paired comparisons of contrasts revealed that contrast
preference did not differ much between MT and HI regions
͓F͑1,58͒=2.14͔, pϽ0.0001. On the other hand, preference
evaluation significantly increased in SH region ͓F͑1,58͒
=21.74͔, pϽ0.0001. In addition, the mean average prefer-
ence of SH was above “3” in the evaluation scale, where
evaluation tends towards “like,” while MT and HI were be-
low the 3, where evaluation is already “dislike.” This finding
Figure 3. Average preference for stimuli 2–10%, across the three categories and three regions.
Figure 2. The arrangement of stimuli in the preference evaluation task.
Gershoni and Kobayashi: How we look at photographs as indicated by contrast discrimination performance
J. Imaging Sci. Technol. 50͑4͒/Jul.-Aug. 2006 323
5. implies a greater degree of tolerance towards contrast incre-
ments in the shadow regions of the photographs. In such
contrast reproductions the overall impression of the lighten-
ing of the image. For an image which seems to become
darker there is a lower degree of tolerance. Figure 6 shows
the differential effect of contrast increment (2%, 6%, and
10%) over regions. For 2% contrast increment, preferences
at regions HI, SH, and MT are: 3.59, 3.60, and 3.55 respec-
tively, for 6% the preference of SH over the other regions is
already substantial: 2.52, 3.3, and 2.8, and the difference is
even greater for 10% increment: 1.58, 2.67, and 1.97.
Preference for the OR was substantially higher than all
other stimuli, independent of category or tonal region. That
is, although stimuli were displayed in a random order, with
no reference to the original photographs, observers’ prefer-
ence matched the preference of the photographer, for all
stimuli, as shown in Fig. 5, where mean average preference
for OR is 3.9, and for SH, MT, and HI: 3.1, 2.74, and 2.6,
respectively. Paired comparisons of contrasts confirmed that
preference for OR was significantly higher than all other
stimuli ͓F͑1,58͒=77.19͔, pϽ0.0001.
DISCUSSION
The purpose of this study was to investigate the aesthetic
appeal of contrast reproductions in black-and-white photo-
graphs, and the connection between contrast preference and
contrast discrimination performance.
Results revealed an inverse and linear relationship be-
tween contrast increment and contrast preference, where
preference decreased systematically with increment. Also,
contrast preference seems to be independent of conceptual
content, but apparently also from spatial configuration char-
acteristics. Based on contrast discrimination results, we ex-
pected to find a connection between preference and regions.
Nevertheless, a uniform preference pattern was observed for
Figure 5. A comparison between average preference of the unaltered
photograph OR and regions HI vs SH vs MT.
Figure 4. a. Average preference across categories reveals no significant difference. b. Average preference
across regions HI vs SH vs MT reveals significant difference.
Gershoni and Kobayashi: How we look at photographs as indicated by contrast discrimination performance
324 J. Imaging Sci. Technol. 50͑4͒/Jul.-Aug. 2006
6. all photographs tested. Results also revealed a match be-
tween the photographer’s contrast preference, manifested in
his choice of contrasts in the photographs tested, and that of
the viewer.
One way of explaining these results is with the anchor-
ing theory of lightness perception.20–22
In mapping lumi-
nance into a lightness scale, the highest luminance is an-
chored (assigned) to white, and the rest of the values are
scaled relative to it. Other factors influencing anchoring are
the area rule and configural attributes of the image, such as
articulation and insulation. The compromise between the
anchoring rules determines whether anchoring occurs in the
local framework or the global framework. While strong an-
choring to local framework increases lightness constancy,
when the global framework is stronger, lightness constancy
decreases and assignment to white is enhanced. Perhaps, as
the contrast in the shadow region increases, insulation de-
creases and the white areas grow bigger, thus the photograph
is perceived as being lighter. Therefore, the decrease in light-
ness constancy might be the reason for what seems to be
greater tolerance to contrast increments in shadow regions
than in highlights or midtones.
In both experiments, i.e., contrast discrimination per-
formance and preference evaluation of photographs, results
reflected no influence of high vision processes, such as the
perceived depth of stimulus21
to influence perception of the
brightness of the pattern, or the context effect,23
also labeled
“object-superiority effect,” suggesting that the context of
overall structure and form influences early processing such
as features extraction.
Moreover, the argument that viewers prefer shapes and
arrangements, which are most “effectively” processed by our
visual system24,25
must also be reexamined in light of the
present results. This argument derived from a work that ex-
amined the effect of orientation on the aesthetic appeal of
Mondrian’s paintings. The results in that work reflected a
match in the preferred orientation between the artist and the
viewers. This is in line with the match in contrast preference
reported in the present paper, and also early experiments
with other mediums of art including also poetry and prose,
where sentences from well known classical writers were
modified to impair the literary effect26–28
music, where well
known pieces were modified to major mode and minor
mode,29
orientation in abstract paintings,30
and other pic-
ture alterations.31
The explanation for the tendency to prefer certain
shapes or arrangements (Mondrian), which are effectively
processed, was claimed to lie in the biological need to main-
tain a certain level of stimulation of the visual system. Like
other adaptive mechanisms, the visual system is encouraged
to function most effectively; thus it prefers the more extreme
stimuli over the weaker ones (peak shift effect32
).
According to this argument, artists should prefer to cre-
ate line art or solid-color rectangular arrangements, such as
Mondrians, and photographers should prefer high contrast
film. But, in reality it is not so. In fact even Mondrian is but
one example out of the general art creation. Even if Mon-
drian was indeed gifted in the capability to intentionally cre-
ate a faithful expression of the visual system, does that make
his art, therefore, weigh more than other art works as a
manifestation of the visual mechanisms? If so, that would be
in contradiction with the above argument itself, denying its
universal neurobiological ground, according to which all art
works are manifestations of the brain’s mechanisms and
constraints.33
If we all prefer the same shapes and orienta-
tions then we should all have been making Mondrians, with
no variance throughout art history and no effect of cultural,
geographical, and historical conditions.
If indeed the most extreme stimuli is the preferred one
by the visual system and has the highest appeal to us all, then
the results of the present experiment should have been that
the greater the contrast increment, the higher the preference
evaluation. In fact, the results reflect that both photographer
and viewer prefer the contrast of reproductions similar to
original, and not the extremes.
This leads to the suggestion that the match between
artist and viewers in constrast reproduction preference or
orientation preference are valid only within the context of
the specific artworks, and cannot be translated to other art
works.
CONCLUSION
Further investigation, using eye movement tracker, can an-
swer questions relating to the effect of contrast alteration
over meaningful details in photographs and the consequent
effect over fixation centers drifts and attention, following
earlier studies.34–37
ACKNOWLEDGMENTS
The authors wish to express their gratitude to M. Tsukada,
Horiuchi Color, Tokyo for printing and laminating the entire
stimuli and supporting the research, and to Professor
Masako Jitsumori, Chiba University, for his extensive assis-
tance in the data analysis.
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