English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the zaia usage as premium feature

ZAIA

Presents the pdf analysis as premium feature

PDF Analysis

Insights

Presents the summarisation as premium feature

Summarisation

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the access of premium content as premium feature

Premium Content

Zendy Tools

Zendy Open

The present work is an attempt to bring meaning to the fore of not only empirical aesthetics but also experimental aesthetics. We have addressed meaning in terms of attention-grabbing perceptual structure, doing so in the strong sense of structure; i.e., structure understood as a pure spatial relation between shapes, independently of what objects these shapes represent. The structures we investigate are the so-called non-generic configurations that obtain between objects seen from a unique vantage point. In the paper, we first introduce the notion of non-genericity, in general, and its use in visual art in particular, where it is claimed to affect the visual brain as an attention grabber. We then present an experiment we have designed to test the effect of such a relation on the visual brain, and we give evidence to the effect that non-generic configurations in pictures do attract attention significantly more than their generic counterparts. Non-genericity can therefore be considered as one among other pictorial techniques artists dispose of to construct perceptual meaning in vision.

Aesthetic perception, attention, and non-genericity: How artists exploit the automatisms of perception to construct meaning in vision