Hochschule für Gestaltung und Kunst Basel FHNW
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Publikation Images influencing images: How pictorial context affects the emotional interpretation of art photographs.(2023) Reymond, Claire; Vornhagen, Jan B.; Pewlowski, Matthew; Opwis, Klaus; Mekler, Eilsa D.Images are never seen in isolation. Instead, they are perceived within a spatial and temporal tapestry of neighboring images. What impact do other images have on our emotional response toward a particular image? Answers to this basic question have vital implications for a range of fields—especially for visual communication and for curating art, where resources are invested in arranging images within a visual context. Previous studies have provided mixed results, suggesting that juxtaposed images may lead to contrast or assimilation processes increasing and decreasing our liking of an image. But how specific image features in neighboring images (image’s ambiguity or formal similarities between images) modulate our affective interpretation of an image has almost never been explored. In Study 1, we compared the emotion perceived in art photographs (“target” images) when displayed on their own versus when displayed in juxtaposition with negatively or positively valenced nonart (“context”) images. Additionally, we analyzed the influence of the artwork’s perceived ambiguity. In Study 2, we examined the effect of the perceiver’s expertise and the formal similarity between the images on the rated valence of the target image. Our results show that the emotion perceived in the artwork contrasted away from or assimilated toward the valence perceived in the context image depending on which evaluative dimension was activated. Moreover, the influence of negative contextual material on the target image’s valence was more pronounced. We conclude by saying that the evaluative dimension is part of the pictorial context that influences the affective interpretation of an image. (PsycInfo Database Record (c) 2023 APA, all rights reserved)01A - Beitrag in wissenschaftlicher ZeitschriftPublikation Othmar Eder - Geborgenes(Naturmuseum Frauenfeld, 08/2024) Hollaus, Invar Torre; Hannes Geisser04A - Beitrag SammelbandPublikation Barbara Schnetzler im Kloster Schönthal - Einen Ort schaffen(Stiftung Kloster Schönthal, 09/2024) Hollaus, Invar Torre; John Schmid, Barbara Schnetzler04A - Beitrag SammelbandPublikation Maschinelles Lernen(transcript, 16.08.2024) Schubbach, Arno; Arnold, Florian; Bernhardt, Johannes C.; Feige, Daniel Martin; Schröter, Christian04A - Beitrag SammelbandPublikation Kant's theory of the sublime and the visual arts(Aesthetica Edizioni, 2023) Clewis, Robert R.; Schubbach, Arno03 - SammelbandPublikation Why not exactly? Revisiting the alleged arguments against the artistic sublime in Kant's “critique of the aesthetic power of Judgment”(Aesthetica Edizioni, 2023) Schubbach, Arno; Clewis, Robert R.; Schubbach, ArnoThe debate about whether, according to Kant, there can be an artistic sublime often fails to clarify the relationship of the “Analytic of the Sublime” to the “Analytic of the Beautiful” and to the short discourse on art of the Critique of the Power of Judgment (KU, § 43 to § 59). Therefore, three types of arguments are often conflated, which I would like to propose to distinguish as precisely as possible: 1. Arguments that cast doubt on the possibility of aesthetic judgments with respect to works of art in general; 2. arguments that specifically put into question the experience of the beautiful in the arts; 3. Arguments questioning the artistic sublime. Kant addresses the first two types of arguments in his ingenious argumentation of why we can experience works of art as beautiful at all. However, they are often readily understood as arguments against the possibility of an artistic sublime, which Kant, however, hardly discusses as such. By distinguishing these types of arguments, I want to pinpoint what exactly, according to Kant, stood in the way of the possibil-ity of an artistic sublime – and to explore the possibility of artistic strategies to overcome these obstacles.04A - Beitrag SammelbandPublikation Intuitive Access to Oral History Video (The Pellaton Experience)(08.02.2024) Frei, Lena; Serra, BéréniceThe Pellaton Experience, a specialized web portal for dance research, was developed by the Institute Digital Communication Environments (IDCE) at HGK Basel FHNW in collaboration with the SAPA Foundation (Swiss Archive of Performing Arts). The SAPA Foundation's archive houses interviews, dance notations, video recordings, and reviews, offering a comprehensive view of the Swiss dance scene. Recent emphasis on the "oral history" research method resulted in a substantial collection of audiovisual data, posing the challenge of making this unique content accessible to diverse audiences, leading to the creation of the Pellaton Experience project. The lecture will explore how the research project strategically presents archival materials from oral history interview series, aiming for a comprehensive understanding of the discussed topics. This effort was made possible through collaboration with an interdisciplinary team, including experts in video/media, art history, and IT (SAPA), as well as professionals in graphic design, project management, game design, and architecture (HGK Basel FHNW). Key research questions focus on user interface and user experience design, aiming to optimize scenarios like "expert search" and "uncoordinated browsing" to enhance the overall choreographic experience. The project strives to provide innovative solutions to improve accessibility and deepen the understanding of the rich history within the SAPA Foundation's archives. Consequently, we will delve into specific aspects of this interface while also establishing broader connections with themes such as digital archives, dance documentation, oral history, gesture in dance, and design.06 - PräsentationPublikation Defying the limits of the plane: Two-dimensional space and its consequences in the search for the order of nature(Intellect, 01.04.2015) López Grüninger, PalomaThe discussion about the order of nature holds a central position in the History of Biological Science. It reached its culmination between the mid-eighteenth and the late nineteenth century, when new knowledge forced a rearrangement of existing thought patterns to adapt them to the recently discovered complexity. Not only different concepts about the relationships among organisms were superseding one another, but also images, as a variety of structures were used to visually display these ideas. Each of these visualizations, usually described as ladders, maps, networks and trees, developed a particular, individual formal language, generating a unique and fascinating collection of graphical examples. This formal variability is a product of the changing ideas about nature, about its origins, and even about the position attributed to human beings within it. However, it is also the result of the authors’ struggle with the drawing space in which this order was to be inscribed. By studying the history of the illustration of the order of nature from the perspective of applied image production, by analysing the strategies their authors used to visually express their ideas, the graphical elements they employed, in summary, the visual choices they made, much can be learnt about the visual medium itself, its specificity, its possibilities, its power. Using this approach, the following article will show that the transition from the scala naturae to maplike or treelike structures cannot be seen exclusively as proof of an intellectual transition, as a succession of abstract ideas, but as creative attempts to solve specific spatial problems imposed by the realm of the visual.01A - Beitrag in wissenschaftlicher ZeitschriftPublikation Robert Zandvliet - Florilegium. Overview 1998 - 2023(Peter Blum Edition, 2024) Hollaus, Invar Torre; Zandvliet, RobertInvar-Torre Hollaus: Robert Zandvliet – A Boundless Gaze (S.6-9) & A Dialogue about Painting – Invar-Torre Hollaus in Conversation with Robert Zandvliet (S.36-42), in: Robert Zandvliet – Florilegium, Ausst.-Kat. Peter Blum Gallery, New York 202402 - MonographiePublikation Bruno Seitz. Aquarelle: Erkundungen zu Licht und Farbe(Tony Wuethrich Galerie, 2024) Hollaus, Invar Torre14 - Ausstellungsbeitrag