The underlying function of the fractal-like statistics found in artworks has received much attention. A wide range of art images and natural scenes were characterized by an intermediate α, with mean values of −1.23 and −1.40 respectively (Tolhurst et al., 1992 Graham and Field, 2007 Redies et al., 2007). This power law reflects the image’s scale invariance and the exponent α quantifies its scaling properties. ( 2007) quantified the variation in intensity across the canvas using a Fourier spectrum analysis and found a 1/f α dependence of the Fourier amplitude on the spatial frequency f. Graham and Field ( 2007, 2008) along with Redies et al. Following the findings of Taylor and colleagues (Taylor et al., 1999) that Jackson Pollock’s poured paintings can be characterized by fractal-like scaling characteristics other researchers reported such properties in representational, abstract and graphic art (Mureika et al., 2004 Graham and Field, 2007 Redies et al., 2007). In addition to mathematical and natural fractals, there’s growing evidence that a number of artworks can be characterised as having fractal characteristics. For example, our previous studies showed that stable aesthetic properties could be observed for statistical fractals with magnification range as low as 25 (natural fractals) and considerably higher (Spehar et al., 2003 Taylor et al., 2011). Instead, the required range is established by the repetitions sufficient to generate/observe the properties being investigated. It is important to point out that there is no set minimum magnification range for determination of fractality per se.
In contrast to the infinite magnification range for mathematical fractals, natural fractals repeat over a restricted range (Avnir, 1998 Mandelbrot, 1998). Here we focus on the latter, which are prevalent in both mathematics and nature, including tree branches, coastlines, clouds, and mountain profiles. The term was introduced by Mandelbrot ( 1977) as an umbrella term encompassing exact fractals (which feature an exact repetition of patterns) and statistical fractals (for which only the statistical qualities repeat). Fractals feature patterns that repeat at increasing fine size scales. The work presented concerns the aesthetic appeal of images with fractal-like characteristics. For the purposes of the present research, the term aesthetics is not restricted to appreciation of artworks and is used more generally to refer to the attributes associated with visual appeal and preference of a wide range of natural and synthetic objects. Even widely agreed upon definitions of some of the associated terms are yet to emerge. Broadly speaking, our results support assertions that there is a close relationship between aesthetic experience and the sensory coding of natural stimuli.ĭespite a long history of fascination with beauty and aesthetics, our understanding of many aspects of this experience remains, for the most part, elusive.
Although we do not attempt to offer a comprehensive neural model of aesthetic experience, we demonstrate a strong relationship between visual sensitivity and preference for simple visual patterns. We measure sensitivity to simple visual patterns (sine-wave gratings varying in spatial frequency and random textures with varying scaling exponent) and find that they are highly correlated with visual preferences exhibited by the same observers. Motivated by these claims and our previous findings that humans display a consistent preference across various images with fractal-like statistics, here we explore the possibility that observers’ preference for visual patterns might be related to their sensitivity for such patterns. The link between art and the fractal-like structure of natural images has also been highlighted (Spehar et al., 2003 Graham and Field, 2007 Graham and Redies, 2010). Recently, views emphasizing the link between aesthetics, perception and brain function have become increasingly prevalent (Ramachandran and Hirstein, 1999 Zeki, 1999 Livingstone, 2002 Ishizu and Zeki, 2013). For centuries, the essence of aesthetic experience has remained one of the most intriguing mysteries for philosophers, artists, art historians and scientists alike.
0 kommentar(er)
