Whether beauty is in the eye of the beholder or shared among individuals is a longstanding question in empirical aesthetics. By decomposing the variance structure of data for facial attractiveness, it has been previously shown that beauty evaluations comprise a similar amount of private and shared taste (Hönekopp, 2006). Employing the same methods, we found that, for abstract artworks, componen...

This paper addresses an issue that has been studied from both scientific and art theoretical perspectives, namely the dichotomous nature of representational artworks. Representational artworks are dichotomous in that they present us with two distinct aspects at once. In one aspect we are aware of what is represented while in the other we are aware of the material from which the representation i...

Most visual advertisements are designed to attract attention, often by inducing a pleasant impression in human observers. Accordingly, results from brain imaging studies show that advertisements can activate the brain's reward circuitry, which is also involved in the perception of other visually pleasing images, such as artworks. At the image level, large subsets of artworks are characterized b...

Vehicle fetishism is a near-ubiquitous cultural attitude in theorizing about the arts. It commonly occurs as a background assumption, if not an explicit belief, that the physical vehicles, by means of which the artistic meaning or content of artworks is communicated, must somehow themselves be integral parts of the relevant artworks. Of course, such a primitivist or magical view about the power...

Several affective and cognitive processes have been found to be pivotal in affecting aesthetic experience of artworks and both neuropsychological as well as psychiatric symptoms have been found to affect artistic production. However, there is a paucity of studies directly investigating effects of brain lesions on aesthetic judgment. Here, we assessed the effects of unilateral brain damage on ae...

References: [1] Celestino Soddu, “Milan Identity”, Gangemi Pub, 2005 [2] C. Soddu, E.Colabella, “Il Progetto Ambientale di Morfogenesi”, Leonardo project, 1992 [3] www.generativeart.com www.soddu.it Abstract: looking at a sequence of artworks we can immediately identify which artist made it. But only if the artist imprinting, the artist style and unicity exists. Make own arworks recognizable as...

Image inpainting automatically restores damaged images and partially removed pictures. Since most inpainting mechanisms inpaint damaged portions in a single layer, this study proposes a multilayer inpainting mechanism by examining how Chinese paintings are drawn in layers. The proposed multilayer inpainting mechanism employs a layer fusion strategy to detect the optimal inpaint combination amon...

The author provides a viewpoint on the dialogue between computing and art by describing a framework for classification of Interactive Digital Artworks: information technology systems in which spectators are involved in the production of the artistic output. The author bases his approach on the input-processoutput view of information systems and relates it to the “Computing as a Science” viewpoi...

Gérard Genette named any relationship between one text and other texts “Transtextuality” and divided it into five categories; including intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. We have conducted a case study of four paintings of the Iranian contemporary painter, Aydin Aghdashloo by using the theory of “transtextuality”. These four artworks belong to ...