![]() Cézanne ’s art alludes to the senselessness of reality and our capability - and need - to make sense of it. Alongside the ambiguous forms of trees, a river, and the sky, it adopts a sensible identity as a mountain range, as our mind has already identified a coherent nature scene. Take, for example, a thin gray stripe, a “fragile scratch against the sprawling void” (Lehrer 115). Unlike the classic impressionists, Cézanne ’s use of blank space mimicked the brain’s process of filling in emptiness to create meaning in otherwise meaningless sensory information. Cézanne ’s nonfinito technique taps into this process. As Jonah Lehrer writes, “If the mind didn’t impose itself on the eye, then our vision would be full of voids” (Lehrer 117). The images we see slowly take shape as they filter from V1 to V5. When Cézanne split from the impressionist project of “worshipping light” (Lehrer 103), he began a ceaseless quest to mimic the fleeting nature of the physical world. I began thinking about Cézanne and Monet, and what I’d read. The question of aesthetic preference brought my thoughts back to what I’d seen at the d’Orsay. In regards to the three questions initially posed, overall results suggested that, though symmetry was a significant factor in participants’ selection, 1) people do not automatically evaluate symmetry, and rather prefer slight imperfection 2) people do not express marked preference for either symmetry or slight imperfection 3) people’s interest in symmetry does not change following familiarization.īased on this study, it seems like symmetry plays a part in all of our visual imagery preferences, though likely not to a critical extent. ![]() ugly) did not fire during evaluation of symmetry. Observation of event-related potentials (ERPs) following exposure to abstract patterns suggested that ERPs responsible for aesthetic evaluation (beautiful vs. A building I saw when walking to the Soup Bar and thinking I didn’t like the way it looked.Ī study by Makin and colleagues used a “gaze-driven evolutionary algorithm” to examine three factors: 1) Do people evaluate symmetry instinctively? 2) Do people prefer perfect symmetry or slightly imperfect imagery? 3) When people grow familiar with symmetry, do they lose fascination with it? Researchers employed eye-tracking technology to observe for factors that attracted 54 test subjects’ gazes (Makin et al.,2016).
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