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M Olivetti Belardinelli - One of the best experts on this subject based on the ideXlab platform.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery
    Cognitive Processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    Background The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent’s potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. Aims The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. Method The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Results Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Conclusions Our results suggest that in certain cases—despite the Fictional Character of art—observers’ reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery.
    Cognitive processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent's potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Our results suggest that in certain cases--despite the Fictional Character of art--observers' reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

Joanna Ganczarek - One of the best experts on this subject based on the ideXlab platform.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery
    Cognitive Processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    Background The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent’s potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. Aims The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. Method The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Results Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Conclusions Our results suggest that in certain cases—despite the Fictional Character of art—observers’ reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery.
    Cognitive processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent's potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Our results suggest that in certain cases--despite the Fictional Character of art--observers' reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

D Nardi - One of the best experts on this subject based on the ideXlab platform.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery
    Cognitive Processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    Background The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent’s potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. Aims The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. Method The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Results Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Conclusions Our results suggest that in certain cases—despite the Fictional Character of art—observers’ reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery.
    Cognitive processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent's potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Our results suggest that in certain cases--despite the Fictional Character of art--observers' reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

V Ruggieri - One of the best experts on this subject based on the ideXlab platform.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery
    Cognitive Processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    Background The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent’s potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. Aims The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. Method The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Results Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Conclusions Our results suggest that in certain cases—despite the Fictional Character of art—observers’ reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

  • Intersection of reality and fiction in art perception: pictorial space, body sway and mental imagery.
    Cognitive processing, 2015
    Co-Authors: Joanna Ganczarek, V Ruggieri, D Nardi, M Olivetti Belardinelli
    Abstract:

    The thesis of embodied cognition claims that perception of the environment entails a complex set of multisensory processes which forms a basis for the agent's potential and immediate actions. However, in the case of artworks, an agent becomes an observer and action turns into a reaction. This raises questions about the presence of embodied or situated cognition involved in art reception. The study aimed to assess the bodily correlates of perceiving Fictional pictorial spaces in the absence of a possibility of an actual physical immersion or manipulation of represented forms. The subjects were presented with paintings by Vermeer and De Hooch, whilst their body sway and eye movements were recorded. Moreover, test and questionnaires on mental imagery (MRT, VVIQ and OSIQ) were administered. Three major results were obtained: (1) the degree of pictorial depth did not influence body sway; (2) fixations to distant elements in paintings (i.e. backgrounds) were accompanied by an increase in body sway; and (3) mental rotation test scores correlated positively with body sway. Our results suggest that in certain cases--despite the Fictional Character of art--observers' reactions resemble reactions to real stimuli. It is proposed that these reactions are mediated by mental imagery (e.g. mental rotation) that contributes to the act of representing alternative to real artistic spaces.

Milosevic Diana - One of the best experts on this subject based on the ideXlab platform.

  • [In Press] Self-recognition of trauma-related psychopathology and help-seeking among resettled Iraqi refugees in Australia
    U.K. Sage Publications, 2020
    Co-Authors: Mond Jonathan, Slewa-younan Shameran, Uribe Guajardo, Maria G., Mohammad Yaser, Johnson, Emma G., Milosevic Diana
    Abstract:

    The current study sought to examine resettled Iraqi refugees’ recognition of trauma-related psychopathology and the association between recognition and help-seeking. Participants were 66 men and women aged 18 to 70 years with clinically significant symptoms of posttraumatic stress disorder (PTSD) recruited from a larger, community-based sample in Western Sydney, Australia. Participants were presented with a vignette of a Fictional Character who had been exposed to trauma prior to leaving Iraq and who was suffering from symptoms of PTSD. Participants were then asked if they believed that they might currently have a problem such as the one described in the vignette. Approximately half (50.8%) of participants believed that they might currently have a problem such as the one described in the vignette and one third (33.3%) of participants had ever sought help for such a problem. Participants who believed that they might currently have a problem like the one described were 13 times more likely to have sought help for such a problem, controlling for demographic Characteristics, trauma-related symptomatology, and levels of general psychological distress. Poor self-recognition level of trauma-related psychopathology among resettled Iraqi refugees may be a barrier to help-seeking and may therefore be an important target for health promotion and early intervention initiatives