Artistic Community&apos;s Transposition of Space into Installation Art

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Abstract

This project intended to highlight the art community's environment installation the SULAPAN URUNG TAKA that showcases the creativity of young artists. The collective artists are linked common ideologies, aesthetics, and beliefs. It is a way to celebrate artists' individual creativity, and the installation is also a creative celebration and an introduction to the audience, where they can experience the structure firsthand. The rooftop of the NafaSyahdu Art Studio was chosen for a permanent installation that is conceived as a collaborative work of art and can be used as a meeting place by the community and the general public.

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Putting reward in art: A tentative prediction error account of visual art

Sander Van de Cruys, Johan Wagemans (2011)

The predictive coding model is increasingly and fruitfully used to explain a wide range of findings in perception. Here we discuss the potential of this model in explaining the mechanisms underlying aesthetic experiences. Traditionally art appreciation has been associated with concepts such as harmony, perceptual fluency, and the so-called good Gestalt. We observe that more often than not great artworks blatantly violate these characteristics. Using the concept of prediction error from the predictive coding approach, we attempt to resolve this contradiction. We argue that artists often destroy predictions that they have first carefully built up in their viewers, and thus highlight the importance of negative affect in aesthetic experience. However, the viewer often succeeds in recovering the predictable pattern, sometimes on a different level. The ensuing rewarding effect is derived from this transition from a state of uncertainty to a state of increased predictability. We illustrate our account with several example paintings and with a discussion of art movements and individual differences in preference. On a more fundamental level, our theorizing leads us to consider the affective implications of prediction confirmation and violation. We compare our proposal to other influential theories on aesthetics and explore its advantages and limitations.

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Comparing artistic and geometrical perspective depictions of space in the visual field

Joseph Baldwin, Alistair Burleigh, Robert Pepperell (2014)

Which is the most accurate way to depict space in our visual field? Linear perspective, a form of geometrical perspective, has traditionally been regarded as the correct method of depicting visual space. But artists have often found it is limited in the angle of view it can depict; wide-angle scenes require uncomfortably close picture viewing distances or impractical degrees of enlargement to be seen properly. Other forms of geometrical perspective, such as fisheye projections, can represent wider views but typically produce pictures in which objects appear distorted. In this study we created an artistic rendering of a hemispherical visual space that encompassed the full visual field. We compared it to a number of geometrical perspective projections of the same space by asking participants to rate which best matched their visual experience. We found the artistic rendering performed significantly better than the geometrically generated projections.

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Local shape of pictorial relief

Jan B Koenderink, Andrea van Doorn, Johan Wagemans (2014)

How is pictorial relief represented in visual awareness? Certainly not as a “depth map,” but perhaps as a map of local surface attitudes (Koenderink & van Doorn, 1995). Here we consider the possibility that observers might instead, or concurrently, represent local surface shape, a geometrical invariant with respect to motions. Observers judge local surface shape, in a picture of a piece of sculpture, on a five-point categorical scale. Categories are cap–ridge–saddle–rut–cup–flat, where “flat” denotes the absence of shape. We find that observers readily perform such a task, with full resolution of a shape index scale (cap–ridge–saddle–rut–cup), and with excellent self-consistency over days. There exist remarkable inter-observer differences. Over a group of 10 naive observers we find that the dispersion of judgments peaks at the saddle category. There may be a relation of this finding to the history of the topic—Alberti's (1827) omission of the saddle category in his purportedly exhaustive catalog of local surface shapes.

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Author and article information

Journal

Title: Asian Journal of Environment-Behaviour Studies

Abbreviated Title: ajE-Bs

Publisher: e-IPH Ltd.

ISSN (Electronic): 2514-751X

Publication date Created: August 30 2022

Publication date (Electronic): August 30 2022

Volume: 7

Issue: 22

Pages: 15-27

Article

DOI: 10.21834/aje-bs.v7i22.409

SO-VID: 7c085184-5932-44cc-961e-899a1bf88fc5

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https://creativecommons.org/licenses/by-nc-nd/4.0

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Artistic Community's Transposition of Space into Installation Art

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Asian Journal of Environment-Behaviour Studies (ajE-Bs)

Most cited references 5

Putting reward in art: A tentative prediction error account of visual art

Comparing artistic and geometrical perspective depictions of space in the visual field

Local shape of pictorial relief

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