Images can affect people on an emotional level. Since the emotions
that arise in the viewer of an image are highly subjective, they are rarely
indexed. However there are situations when it would be helpful if images could
be retrieved based on their emotional content. We investigate and develop
methods to extract and combine low-level features that represent the emotional
content of an image, and use these for image emotion classification.
Specifically, we exploit theoretical and empirical concepts from psychology and
art theory to extract image features that are specific to the domain of
artworks with emotional expression.
Sean Scully says “I’m using extremely simple forms that I
see running through the basic human ordering systems … I see these simple forms
as what unites us and what runs beneath the cultural superstructures that have
caused us to be estranged.”
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We feel, “Paintings are static two-dimensional images with
limited narrative means. On the basis of a critical analysis of the relevant
laboratory scaling studies, museum studies, and neuro-aesthetic work, the
article reaches a negative conclusion about most paintings’ ability to engage
sufficiently with general viewers’ associative-memory systems, so as to lead to
identification and empathy, and induce fundamental psycho-biological emotions. In
contrast, designers of art installations can draw on subtle combinations of
several classes of stimulus properties with psychological significance under the classical concept of the sublime (physical grandeur,
rarity, an association with beauty and with biologically significant outcomes),
so that some installations may induce the peak aesthetic emotional response,
aesthetic awe – as defined in Aesthetic Trinity Theory, along with the states
of being moved and physiological thrills. The approach also involves an
analytical skepticism about emotion, defined as a culture-o-logical proclivity for
unnecessary insertion of emotion into accounts of mental life and behavior,
especially in the arts. Implications for the role of emotion theory in
empirical aesthetics are examined.”
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