The center cannot hold: Variations of frame width help to explain the “inward bias” in aesthetic preferences
Author:
Funder
Office of Naval Research
Publisher
Springer Science and Business Media LLC
Subject
Linguistics and Language,Sensory Systems,Language and Linguistics,Experimental and Cognitive Psychology
Link
https://link.springer.com/content/pdf/10.3758/s13414-021-02289-y.pdf
Reference18 articles.
1. Arnheim, R. (1974). Art and visual perception: A psychology of the creative eye. University of California Press.
2. Arnheim, R. (1988). The power of the center: A study of composition in the visual arts. University of California Press.
3. Bertamini, M., Bennett, K. M., & Bode, C. (2011). The anterior bias in visual art: The case of images of animals. Laterality: Asymmetries of Body, Brain and Cognition, 16, 673–689.
4. Bode, C., Bertamini, M., & Helmy, M. S. (2016). Left–right position in moving images: An analysis of face orientation, face position, and movement direction in eight action films. Art & Perception, 4, 241–263.
5. Chen, Y. -C., Colombatto, C., & Scholl, B. J. (2018). Looking into the future: An inward bias in aesthetic experience driven only by gaze cues. Cognition, 176, 209–214.
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1. Salient-Centeredness and Saliency Size in Computational Aesthetics;ACM Transactions on Applied Perception;2023-04-21
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3. “Taste typicality” is a foundational and multi-modal dimension of ordinary aesthetic experience;Current Biology;2022-04
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