Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor
Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had traveled to see a painting t...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
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Frontiers Media S.A.
2019-09-01
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| Series: | Frontiers in Psychology |
| Subjects: | |
| Online Access: | https://www.frontiersin.org/article/10.3389/fpsyg.2019.02033/full |
| _version_ | 1819154990181122048 |
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| author | Marco Bertamini Colin Blakemore |
| author_facet | Marco Bertamini Colin Blakemore |
| author_sort | Marco Bertamini |
| collection | DOAJ |
| description | Visiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had traveled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing a video screening (a closed-circuit camera), or seeing a reproduction. In all cases, it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases, there was a clear preference for the mirror over the monitor. |
| first_indexed | 2024-12-22T15:29:51Z |
| format | Article |
| id | doaj.art-1d74aa10e89143c1b81dc50e5fccadcf |
| institution | Directory Open Access Journal |
| issn | 1664-1078 |
| language | English |
| last_indexed | 2024-12-22T15:29:51Z |
| publishDate | 2019-09-01 |
| publisher | Frontiers Media S.A. |
| record_format | Article |
| series | Frontiers in Psychology |
| spelling | doaj.art-1d74aa10e89143c1b81dc50e5fccadcf2022-12-21T18:21:24ZengFrontiers Media S.A.Frontiers in Psychology1664-10782019-09-011010.3389/fpsyg.2019.02033474249Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live MonitorMarco Bertamini0Colin Blakemore1Visual Perception Laboratory, Department of Psychological Science, University of Liverpool, Liverpool, United KingdomSchool of Advanced Study, Centre for the Study of the Senses, University of London, London, United KingdomVisiting a museum and seeing an original artwork can be a special experience. We use a survey and a set of hypothetical questions to explore how such experience would be affected by changes in how the artwork is seen. In a first study, participants imagined that they had traveled to see a painting that they particularly like. They discover that it is impossible to directly see the original painting. Three alternatives are offered: seeing an optical reflection (using a mirror), seeing a video screening (a closed-circuit camera), or seeing a reproduction. In all cases, it is made clear that the size, brightness, and resolution will match that of the original. In addition, these options could be within the same room as the original, in the room next door, or in a different building. Results show that physical distance did not affect significantly the responses. However, there was an overall preference for seeing a reproduction as opposed to an optical or digital image. Contrary to the idea that the original is always superior to a copy, many people felt that a direct view of a copy is a preferable experience than an indirect view. The second study was focused directly on the comparison between a mirror and a monitor. Here we highlighted the fact that for the mirror light coming from the mirror originated from the painting. Data were collected in Britain and in China. In both cases, there was a clear preference for the mirror over the monitor.https://www.frontiersin.org/article/10.3389/fpsyg.2019.02033/fullartaestheticsaesthetic experienceperceptionmuseum |
| spellingShingle | Marco Bertamini Colin Blakemore Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor Frontiers in Psychology art aesthetics aesthetic experience perception museum |
| title | Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor |
| title_full | Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor |
| title_fullStr | Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor |
| title_full_unstemmed | Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor |
| title_short | Seeing a Work of Art Indirectly: When a Reproduction Is Better Than an Indirect View, and a Mirror Better Than a Live Monitor |
| title_sort | seeing a work of art indirectly when a reproduction is better than an indirect view and a mirror better than a live monitor |
| topic | art aesthetics aesthetic experience perception museum |
| url | https://www.frontiersin.org/article/10.3389/fpsyg.2019.02033/full |
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