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• W2586304920 abstract "Mondrian, Eye Movements and the Oblique Effect James A. Schirillo ( schirija@wfu.edu ) and Jordan E. Plumhoff ( plumje3@wfu.edu ) Department of Psychology, Wake Forest University Winston-Salem, NC 27109 USA Abstract Observers prefer paintings by Piet Mondrian in their original orientation compared to when rotated – “The Oblique Effect” (Latto et al., 2000). We tested whether eye movements could provide any insight into this aesthetic bias. We presented 8 Mondrian paintings (1921-1944) on a computer monitor in their original and seven rotated positions to 10 observers. These 64 images were randomly presented for 20 sec each while recording eye movement duration and saccade length. During a 5 sec ISI observers used a 1-7 Likert-scale to report how (dis)pleasing they found each image. In 6 cases an original orientation was judged as significantly more pleasing than a rotated image, while a rotated image was preferred in 3 cases. Overall, over the 20 sec trial interval, fixation durations increased linearly, while fixation duration increased more for pleasing than for non-pleasing images. Moreover, saccade distances oscillated over the viewing interval; with the pleasing image fit being more variable (i.e., saccade distance oscillations were larger) than the non-pleasing image fit. Both these findings agree with earlier work by Nodine, Lochear and colleague; and suggest that the more pleasing an abstract painting is, the greater the diversive/specific types of image exploration become (Berlyne, 1971). Keywords: Eye Movements; Fixation Duration; Saccade Extent; Oblique Effect; Mondrian, Aesthetics Introduction The psychophysical ‘oblique effect’, first named by Stuart Appelle (1972), is the principle that “our perception of oblique or diagonal lines is slightly inferior to our perception of horizontal and vertical lines” (Latto et al., 2000). Perhaps the earliest mention of the oblique effect in the vision literature was cited by Mach (1861) who found that observers were more accurate at matching a line parallel to a horizontal or vertical comparison line than to an oblique line (Mach 1861, cited in Westheimer 2003). Higgins and Stultz (1949) also found that observers showed 20% higher visual acuity when lines passing through their visual field were horizontal or vertical as compared to oblique lines. In 2000, Latto and colleagues studied a related phenomenon that they also called “The Oblique Effect”. They showed that observers preferred eight paintings by Mondrian in their original orientation compared to when they were rotated to one of seven positions in 45 0 increments. They also found an interaction between frame orientation and component orientation such that the preference for horizontal and vertical components was balanced by a preference for components that were parallel to the surround frame. Observers preferred images that had original horizontal and vertical frames to those that had original oblique frames because their components were parallel to the surround frame. They concluded that there were two factors that reduced the appeal of Mondrian paintings; one being rotation per se, and how that might have affected the overall balance of the painting and the other was the introduction of obliquely oriented components. Latto et al. (2000) compared the oblique effect to orientational anistropy where perceptual discrimination is slightly inferior in the oblique orientation and instead observers prefer the vertical and horizontal orientation of stimuli, such as lines in a vernier acuity task. The purpose of the present study was to replicate Latto et al.’s (2000) findings, while also determining whether eye movements could provide any insight into the causes that might underlie this aesthetic bias, since orientational anisotropy is often considered to be due to a low-level process. Mondrian felt so strongly that he should use only horizontal and vertical lines, that when a fellow artist of the movement, Theo van Doesburg, insisted on using diagonals, Mondrian broke off their friendship and left the de Stijl art movement which he helped to found (Esman, 1994). By examining eye movement patterns, in particular fixation durations and saccade extent, we can establish whether Berlyne’s (1971) hypothesis that greater diversive/specific types of image exploration occur as images become more aesthetically pleasing. That is, we can determine whether observers will have longer dwell times over the viewing duration of a painting if it is seen as interesting versus if it is seen as not interesting. Moreover, we can determine if saccade length will show greater fluctuations for pleasing images, indicating shifts between diversive and specific viewing. Using the abstract work of Mondrian is especially conducive to these measures in that, unlike a realistic image, the painting can be rotated and still be interpreted as a coherent work of art. Much of the research to date on aesthetics and psychology has focused on high-level cognitive contributions. Even the use of lower-level eye-movement measurements has contributed only by showing how having an increase in such movements correlate to an increase in information contained within the image (Antes, 1974; Hochberg, 1976). By using Mondrian’s abstract work, the information content is minimized as a variable, while rotating such images holds constant whatever information content that is present. Using eye movement recordings in this way emphasizes whatever lower-level contributions are relevant to making aesthetic judgments." @default.
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• W2586304920 date "2007-01-01" @default.
• W2586304920 modified "2023-09-24" @default.
• W2586304920 title "Mondrian, Eye Movements and the Oblique Effect" @default.
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