沉浸式艺术审美体验的自我发现与再设计

探讨沉浸式艺术这一新概念，研究其审美体验是如何有助于自我发现并运用于艺术创作再设计中的。沉浸式艺术是一种能够启发感知联觉的审美体验方式，可使人们重新思考自己与“世界”(真实和虚拟)之间的关系。“感知”、“关系”和“转换”是三个相互交织并贯穿全文的主要问题，同时也是沉浸式艺术的研究基础。结合海德格尔“在世界上”(être-au-monde) 的观念来看，与其说“存在”，不如说人们沉浸并感知于这个世界中。然而，人们对周围环境的感知通常是无意识的，对于感知的认识也时常是冷漠和忽视的。沉浸式艺术使这些感觉得以被强调，它突出了个人的感知运动能力，同时也引起了人们对身体本身的重视。又如Bergson所提出的“投机性关注是建立在一种感知机制的基础上的，这种感知机制从根本上允许对世界进行一定行动而不是仅仅了解这个世界”。因此，对于一个完善的沉浸式审美体验过程来说，重要的是使观众自然地参与其中。当无意识的行为转换为肉眼可见的视觉效果时，审美体验将会更加深入人心。因此关于沉浸式艺术作品的创作，可以结合西方艺术家Marcel Duchamp的Ready-made的创作理念和中国道家的“无为”思想，研究怎样将被忽视的日常行为自然地转换为可见的，被重视的视觉效果，从而揭发主体与“世界”之间的多种潜在关系。     

A general framework to study the price‐color relationship in paintings with an application to Mark Rothko rectangular series

We propose a general framework to study the relationship between the price of a painting and its color‐related attributes. To this end we focus on four key aspects: dominant colors, features of the color palette, color harmony, and color emotions. We demonstrate the usefulness of this approach with an example based on Mark Rothko's post‐1950 paintings (the “rectangular” series), and auction data from the 1994 to 2018 period. We identify two distinct price‐color regimes in Rothko's market: (a) [1994‐2005], a period in which prices are explained mainly by the growing popularity of the artist regardless of the color attributes of the paintings sold; and (b) [2006‐2018], a period in which color‐related attributes explain most of the prices. Furthermore, we find that in this second period, the dominant colors and the diversity of the color palette, are by far the most relevant attributes that influence the price; color harmony and color emotions hold almost no explanatory power during this period. Finally, we propose a new metric based on the Herfindahl Index to describe color diversity; this metric seems to be promising at characterizing the effect of the color palette on the price of a painting.     

Tactile colour pictogram to improve artwork appreciation of people with visual impairments

A recent development in tactile technology enables an improvement in the appreciation of the visual arts for people with visual impairment (PVI). The tactile sense, in conjunction with, or a possibly as an alternative to, the auditory sense, would allow PVIs to approach artwork in a more self‐driven and engaging way that would be difficult to achieve with just an auditory stimulus. Tactile colour pictograms (TCPs), which are raised geometric patterns, are ideographic characters that are designed to enable PVIs to identify colours and interpret information by touch. In this article, three TCPs are introduced to code colours in the Munsell colour system. Each colour pattern consists of a basic cell size of 10 mm × 10 mm to represent the patterns consistently in terms of regular shape. Each TCP consists of basic geometric patterns that are combined to create primary, secondary, and tertiary colour pictograms of shapes indicating colour hue, intensity and lightness. Each TCP represents 29 colours including six hues; they were then further expanded to represent 53 colours. Two of them did not increase the cell size, the other increased the cell size 1.5 times for some colours, such as yellow‐orange, yellow, blue, and blue‐purple. Our proposed TCPs use a slightly larger cell size compared to most tactile patterns currently used to indicate colour, but code for more colours. With user experience and identification tests, conducted with 23 visually impaired adults, the effectiveness of the TCPs suggests that they were helpful for the participants.     

传统建筑材料在当代环境艺术设计中的运用与研究

在经济不断发展的大背景下,人们的审美意识也不断增强,对于建筑材料与环境艺术的融合提出了更高的要求,并在现在的环境艺术设计中加入了更多新鲜有趣的理念。然而由于固有理念的束缚和一味求新、求变思想的出现,对于传统建筑材料的使用却遇到了不足。其实,在当代环境艺术设计中,环境设计的基本元素,不仅要能表现艺术,在视角和造景效果上也要能体现出很大的美学价值。本文结合当前传统建材料的应用情况,对其与当代环境艺术设计的结合做一个简单的阐述,对实际设计的美学造诣深入探究,让有价值的传统建筑材料绽放光彩。     

浅谈传统建筑材料在当代环境艺术设计中的运用

建筑作为一种艺术形式,有着极其深远的历史。本文主要通过传统建筑材料的装饰艺术形式来探讨其在当代环境艺术设计中的运用。     

中国观念艺术发展症候分析

中国观念艺术三十多年的发展,是一场"没有坐标的运动。"中国观念艺术曾在一定时期和范围内偏离了人本主义思想的轨迹,没有沿着健康的道路发展。本文将从"后殖民化"与"本土化""智力"与"智慧""大众"与"精英"三悖论,对中国观念艺术发展的症候进行分析。     

文人画对陶瓷绘画创作的影响

陶瓷绘画最早可以追溯到彩陶时期,陶瓷与绘画相互交融发展。至今,文人画的审美精神和文化内涵一直影响着当代陶瓷绘画,在画面的表现形式和内在精神上都极具中国传统文化的艺术精神。     

服装设计中茶艺元素的创新与应用

茶艺是我国传统文化的重要组成部分,在我国有着悠久的历史。现代社会弘扬传统文化,也为茶艺文化的发展创新带来了新的繁荣,茶艺受到国内外许多人士的喜爱。而茶艺元素也被广泛应用于服装设计中,现代服装设计与传统茶文化的融合,使得传统文化焕发新的生机。文章主要分析了服装设计中如何更好地运用茶艺元素。     

基于纸类艺术的现代纸制品包装应用与分析

随着我国经济水平的提高和国民收入的不断提升,商品和市场之间的竞争变得更加激烈。对于商品之间的竞争而言,包装设计已经成为提升商品市场竞争力的最有力手段之一。在产品的包装设计流程中,产品的造型、包装材料的选择以及使用何种理念进行包装设计等对于提升产品包装效果具有决定性作用。研究以纸材料入手,从纸类艺术的角度对纸这种历史悠久的材料如何作用于现代社会的产品包装工艺进行了研究;分析了纸材在现代纸质产品包装设计中的自然性、科学性、社会性等;对纸类艺术在现代纸制品包装中的应用场景进行了综述。     

Computational color analysis of paintings for different artists of the XVI and XVII centuries

We have performed a computational color analysis of images of paintings for six master painters: Titian, Rubens, El Greco, Velázquez, Rembrandt, and Vermeer. These painters show the evolution from the renaissance to the baroque style. Different first and second‐order statistical parameters have been obtained and analyzed in order to fix which of them can be common for the different artists and which of them can be representative of a certain period of time or the evolution of the art. The firsts include the orientation and semi‐axes ratio of the ellipses that define the gamut in the chromaticity diagram and the dependencies with the frequency of the power of the Fourier transforms. Most differences among artists can be found in the volume and area of the gamut, the number of discernible colors which is greater for Titian, El Greco and Rubens, compared to Velázquez, Rembrandt and Vermeer, the average value of L* and the number of dark pixels.