in this article, multichannel eeg signals of artists and nonartists were analyzed during the performances of visual perception and mental imagery of paintings using cepstrum coefficients. each of the calculated cepstrum coefficients and their parameters such as energy, average, standard deviation and entropy were separately used for distinguishing the two groups. it was also found that a distin...

Artists have different parameters to, for example, colour scientists, for considering the quality of the finished image. An analysis of the work is based on an artist's conception of the work and a subjective assessment of print surface, colour and image quality, which although may appear to be based on the same criteria as a reproduction, the impact on the viewer is quite different. This prese...

We present an efficient unsupervised approach in finding subjective artist meta-data on the world wide web. Since we are interested in the collective knowledge on artists as available on the web, our method is based on the extraction of information from multiple web pages. We use co-occurrences of pairs of artists on the web to identify similarity between artists. To determine the applicability...

Artists value the ability to determine what parts of their composition is most appreciated by viewers. This information normally comes straight from viewers in the form of oral and written feedback; however, due to the lack of participation on the viewers part and because much of our visual understanding of artwork can be subconscious and difficult to express verbally, the value of this feedbac...

Objective: To evaluate the relations of anomalous experiences with five overexcitabilities, cumulative trauma exposure, and Beyond Personal creative process, samples performing artists, athletes, control participants. Method: This is a cross-sectional study (N = 454) in which participants were administered one session self-report instruments to assess overexcitability dimensions, past childhood...