Artworks with Emotional Expressions....

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.”

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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…. Curator’s Pen by Prabuddha Ghosh

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