The spectatorship of portraits by naïve beholders
The spectatorship of portraits by naïve beholders
The spectatorship of portraits by naïve viewers (beholders) was explored in a singleexperiment. Twenty-five participants rated their liking for 142 portraits painted by Courbet (36 paintings), Fantin-Latour (36 paintings) and Manet (70 paintings) on a 4-point Likert scale. The portraits were classified in terms of focussed versus ambiguous nature of sitter gaze and the presence of salient features in the context beyond sitters. Participants rated portraits while having their eye movements recorded. The portraits were split into regions of interest (ROIs) defined by faces, bodies and context. Participants also completed individual difference measures of attention and task focus. Results showed naïve spectatorship to be subject to attentional capture by faces. Paradoxically, the presence of salient features in the context amplified the attentional capture by faces through increasing participants liking of portraits. Attentional capture by faces was also influenced by sitter gaze and task focus. Unsurprisingly, the spectatorship of portraits by naïve beholders is dominated by faces, but the extent of this dominance is influenced by exogenous and endogenous attentional factors.
Trawinski, Tobiasz, Robert
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Mestry, N.
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Harland, B.
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Liversedge, Simon P.
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Godwin, Hayward
df22dc0c-01d1-440a-a369-a763801851e5
Donnelly, Nicholas
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Trawinski, Tobiasz, Robert
f713c9d9-5eca-48c8-8721-59cb00ee8021
Mestry, N.
2ef87bad-9d81-4ad8-ba7e-6217301806ea
Harland, B.
f56181aa-782d-49d1-afe8-547f8e8eb8ad
Liversedge, Simon P.
3ebda3f3-d930-4f89-85d5-5654d8fe7dee
Godwin, Hayward
df22dc0c-01d1-440a-a369-a763801851e5
Donnelly, Nicholas
05c83b6b-ee8d-4c9d-85dc-c5dcd6b5427b
Trawinski, Tobiasz, Robert, Mestry, N., Harland, B., Liversedge, Simon P., Godwin, Hayward and Donnelly, Nicholas
(2019)
The spectatorship of portraits by naïve beholders.
Psychology of Aesthetics Creativity and the Arts.
(In Press)
Abstract
The spectatorship of portraits by naïve viewers (beholders) was explored in a singleexperiment. Twenty-five participants rated their liking for 142 portraits painted by Courbet (36 paintings), Fantin-Latour (36 paintings) and Manet (70 paintings) on a 4-point Likert scale. The portraits were classified in terms of focussed versus ambiguous nature of sitter gaze and the presence of salient features in the context beyond sitters. Participants rated portraits while having their eye movements recorded. The portraits were split into regions of interest (ROIs) defined by faces, bodies and context. Participants also completed individual difference measures of attention and task focus. Results showed naïve spectatorship to be subject to attentional capture by faces. Paradoxically, the presence of salient features in the context amplified the attentional capture by faces through increasing participants liking of portraits. Attentional capture by faces was also influenced by sitter gaze and task focus. Unsurprisingly, the spectatorship of portraits by naïve beholders is dominated by faces, but the extent of this dominance is influenced by exogenous and endogenous attentional factors.
Text
The Spectatorship of Portraits by Na ïve Beholders_accepted
- Accepted Manuscript
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Accepted/In Press date: 25 February 2019
Identifiers
Local EPrints ID: 429634
URI: http://eprints.soton.ac.uk/id/eprint/429634
ISSN: 1931-3896
PURE UUID: b6d52523-78bd-4ceb-b054-a5511dea19e2
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Date deposited: 02 Apr 2019 16:30
Last modified: 16 Mar 2024 04:01
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Contributors
Author:
Tobiasz, Robert Trawinski
Author:
N. Mestry
Author:
B. Harland
Author:
Simon P. Liversedge
Author:
Nicholas Donnelly
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