Physiological correlates of aesthetic perception of artworks in a museum

Arts experts are commonly skeptical of applying scientific methods to aesthetic experiencing, which remains a field of study predominantly for the humanities. Laboratory research has however indicated that artworks may elicit emotional and physiological responses. Yet, this line of aesthetics research has previously suffered from insufficient external validity. We therefore conducted a study in which aesthetic perception was monitored in a fine-art museum, unrestricting to the viewers’ freedom of aesthetic choice. Visitors were invited to wear electronic gloves through which their locomotion, heart rate and skin conductance were continuously recorded. Emotional and aesthetic responses to selected works of an exhibition were assessed using a customized questionnaire. In a sample of 373 adult participants, we found that physiological responses during perception of an artwork were significantly related to aesthetic-emotional experiencing. The dimensions ‘Aesthetic Quality’, ‘Surprise/Humor’, ‘Dominance’ and ‘Curatorial Quality’ were associated with cardiac measures (heart rate variability, heart rate level) and skin conductance variability. This is first evidence that aesthetics can be statistically grounded in viewers’ physiology in an ecologically valid environment, the art gallery, enhancing our understanding of the effects of artworks and their curatorial staging.

The Absence of Atrocity: On Bart Michiels’ "The Course of History" Photographs

This article examines the absence of atrocity in the photographic series The Course of History by the Belgian-born, New York-based photographer Bart Michiels (1964–). It shows, in beautiful, large-format prints, seemingly innocent landscapes and confined views of nature. Only when viewers read the titles of the photographs do they become aware of the violent history of the sites. These turn out to be the fields of fierce European battles such as Verdun, Waterloo and Stalingrad. The present article reviews recent trends towards using place as a motif in contemporary art photography and focuses on the ‘empty’ landscape as a pictorial strategy that opens up a narrative space, one that needs to be completed by the viewer. The absence evoked by the image is treated as antithetical to the conventional ethos of photography, which canonically stands as the evidence of an occurrence.

Hand-held 3D light field photography and applications

We propose a method to acquire 3D light fields using a hand-held camera, and describe several computational photography applications facilitated by our approach. As our input we take an image sequence from a camera translating along an approximately linear path with limited camera rotations. Users can acquire such data easily in a few seconds by moving a hand-held camera. We include a novel approach to resample the input into regularly sampled 3D light fields by aligning them in the spatio-temporal domain, and a technique for high-quality disparity estimation from light fields. We show applications including digital refocusing and synthetic aperture blur, foreground removal, selective colorization, and others.

Bathymetry of Lake Constance - State-of-the-art in surveying a large lake

In 2014 the by far largest German lake has been newly surveyed. The transnational project is funded by the European Union and delivers a detailed 3D-model of the lake- floor. The German project name is »Tiefenschärfe – Hochauflösende Vermessung Bo- densee«, which in English roughly means: high-resolution survey of Lake Constance. The German term »Tiefenschärfe« (in optics and photography: depth of field) plays with the meanings of »Tiefe« (depth) and »Schärfe« (sharpness). The result of the sur- vey shall be a clear and sharp image of the deep and shallow lake- floor. At present the LiDAR and multibeam data are still processed, but first results are presented in this article.

3D documentation and visualization of external injury findings by integration of simple photography in CT/MRI data sets (IprojeCT).

This study evaluated the feasibility of documenting patterned injury using three dimensions and true colour photography without complex 3D surface documentation methods. This method is based on a generated 3D surface model using radiologic slice images (CT) while the colour information is derived from photographs taken with commercially available cameras. The external patterned injuries were documented in 16 cases using digital photography as well as highly precise photogrammetry-supported 3D structured light scanning. The internal findings of these deceased were recorded using CT and MRI. For registration of the internal with the external data, two different types of radiographic markers were used and compared. The 3D surface model generated from CT slice images was linked with the photographs, and thereby digital true-colour 3D models of the patterned injuries could be created (Image projection onto CT/IprojeCT). In addition, these external models were merged with the models of the somatic interior. We demonstrated that 3D documentation and visualization of external injury findings by integration of digital photography in CT/MRI data sets is suitable for the 3D documentation of individual patterned injuries to a body. Nevertheless, this documentation method is not a substitution for photogrammetry and surface scanning, especially when the entire bodily surface is to be recorded in three dimensions including all external findings, and when precise data is required for comparing highly detailed injury features with the injury-inflicting tool.