The Experts below are selected from a list of 81 Experts worldwide ranked by ideXlab platform

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.

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.

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.

Jörgen Sparf - One of the best experts on this subject based on the ideXlab platform.