John Tradescant the Elder was probably born in England in the 1570s. The earliest known historical record of his life documents his marriage to Elizabeth Day, at Meopham on 18 June 1607.1 A long career working as gardener in the service of England’s nobility—among his employers were Robert and William Cecil, Edward Wotton, and George Villiers —provided numerous opportunities for travel abroad in pursuit of the exotic species for which his eminent employers clamored. As a result of his voyages, Tradescant (...) not only imported hundreds of plant varieties for his clients, but also amassed thousands of artefacts and other.. (shrink)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (shrink)

There had been interesting interactions between philosophical reflections, technical developments and the work of artists, poets and designers, starting especially in the 1950s and 1960s with a stimulating cell in Stuttgart and Ulm in Germany spreading mutual international interactions. The paper aims to describe the philosophical background of Max Bense with his research on the intellectual history of mathematics and the upcoming studies on technology and cybernetics. Together with communication theories and semiotics, new aesthetics such as cybernetic aesthetics had been (...) worked out, based on the notions of information and sign. This background stimulated international students, artists and researchers from different creative disciplines for methodical approaches leading to first computer art experiments. The interrelations in these fields with Latin America are in the focus of these studies. Students, artists, and poets from Latin America, especially Brazil, came to Germany for studies and exhibitions in the creative scientific cell around Max Bense. Some of them stayed in Europe, but the exchange developed also in the opposite direction, traveling to and working in Latin America. Some of those fruitful international interrelations will be described and reflected. (shrink)

Neurological syndromes in which consciousness seems to malfunction, such as temporal lobe epilepsy, visual scotomas, Charles Bonnet syndrome, and synesthesia offer valuable clues about the normal functions of consciousness and ‘qualia’. An investigation into these syndromes reveals, we argue, that qualia are different from other brain states in that they possess three functional characteristics, which we state in the form of ‘three laws of qualia’. First, they are irrevocable: I cannot simply decide to start seeing the sunset as green, or (...) feel pain as if it were an itch; second, qualia do not always produce the same behaviour: given a set of qualia, we can choose from a potentially infinite set of possible behaviours to execute; and third, qualia endure in short-term memory, as opposed to non-conscious brain states involved in the on-line guidance of behaviour in real time. We suggest that qualia have evolved these and other attributes because of their role in facilitating non-automatic, decision-based action. We also suggest that the apparent epistemic barrier to knowing what qualia another person is experiencing can be overcome by using a ‘bridge’ of neurons; and we offer a hypothesis about the relation between qualia and one's sense of self. (shrink)

Fractal patterns offer one way to represent the rough complexity of the natural world. Whilst they dominate many of our visual experiences in nature, little large-scale perceptual research has been done to explore how we respond aesthetically to these patterns. Previous research (Taylor et al., 2011) suggests that the fractal patterns with mid-range fractal dimensions have universal aesthetic appeal. Perceptual and aesthetic responses to visual complexity have been more varied with findings suggesting both linear (Forsythe et al., 2011) and curvilinear (...) (Berlyne, 1970) relationships. Individual differences have been found to account for many of the differences we see in aesthetic responses but some, such as culture, have received little attention within the fractal and complexity research fields. This 2-study paper aims to test preference responses to fractal dimension and visual complexity, using a large cohort (N=443) of participants from around the world to allow universality claims to be tested. It explores the extent to which age, culture and gender can predict our preferences for fractally complex patterns. Following exploratory analysis that found strong correlations between fractal dimension and visual complexity, a series of linear mixed-effect models were implemented to explore if each of the individual variables could predict preference. The first tested a linear complexity model (likelihood of selecting the more complex image from the pair of images) and the second a mid-range fractal dimension model (likelihood of selecting an image within mid-range). Results show that individual differences can reliably predict preferences for complexity across culture, gender and age. However, in fitting with current findings the mid-range models show greater consistency in preference not mediated by gender, age or culture. This paper supports the established theory that the mid-range fractal patterns appear to be a universal construct underlying preference but also highlights the fragility of universal claims by demonstrating individual differences in preference for the interrelated concept of visual complexity. This highlights a current stalemate in the field of empirical aesthetics. (shrink)

Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...) which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions, we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction. (shrink)

This paper outlines a method to assess the effectiveness of diagrams, from semiotic foundations. In doing so, we explore the Peircian notion of signification, as applied to diagrammatic representations. We review a history of diagrams, with particular emphasis on schematics used for representing systems, and uncover the neglect of semiotic analysis of diagrammatic representations. Through application of category theory to the Peircian triadic model, we propose a set of quantitative quality measures for diagrams, and a framework for their assessment, based (...) on the properties of their encoding, pragmatic and perceptual morphisms. These measures include diagram complexity, utility, aesthetics and expert assessment of semiotic content, together with qualitative feedback. We consider the diagrams as an aid to cognitive processes, rather than a purely communication media. This utility-focused perspective on diagram quality dimensions allows for fresh insights into the creation of effective diagrams. (shrink)

This work responds to a criticism of effective complexity made by James McAllister, according to which such a notion is not an appropriate measure for information content. Roughly, effective complexity is focused on the regularities of the data rather than on the whole data, as opposed to algorithmic complexity. McAllister’s argument shows that, because the set of relevant regularities for a given object is not unique, one cannot assign unique values of effective complexity to considered expressions and, therefore, that algorithmic (...) complexity better serves as a measure of information than effective complexity. We accept that problem regarding uniqueness as McAllister presents it, but would not deny that if contexts could be defined appropriately, one could in principle find unique values of effective complexity. Considering this, effective complexity is informative not only regarding the entity being investigated but also regarding the context of investigation itself. Furthermore, we argue that effective complexity is an interesting epistemological concept that may be applied to better understand crucial issues related to context dependence such as theory choice and emergence. These applications are not available merely on the basis of algorithmic complexity. (shrink)

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental aesthetics, (...) and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics. (shrink)

Summary Prägnanz was suggested by Max Wertheimer in the 1920s as subsuming all “Laws of Gestalt” as they apply to visual awareness. Thus, it assumes a prominent position in any account of Gestalt phenomena. From a phenomenological perspective, some visual stimuli evidently “have more Prägnanz” than others, so Prägnanz seems to be an intensive quality. Here, we investigate the intricacies that need to be faced on the way to a definition of formal scales. Such measures naturally depend both upon the (...) stimulus and upon the observer. Structural complexity bottlenecks of visual systems play a role, as well as the relevance to biological fitness, that is the affinity to the optical user interface. This positions the notion of Prägnanz squarely within the realm of biology. Indeed, the familiar “releasers” of ethology are singular cases of extremely high Prägnanz. (shrink)