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題名：構圖平衡性對視線分布與歷程之影響
書刊名：藝術教育研究
作者：唐大崙／李哲賢
作者(外文)：Tang, Da-lun／Li, Che-hsien
出版日期：2009
卷期：18
頁次：頁103-126
主題關鍵詞：眼動追蹤；視線軌跡；構圖平衡性；Balance configuration；Eye-tracking；Scanpath
原始連結：連回原系統網址new window
相關次數：
  • 被引用次數被引用次數:期刊(4) 博士論文(0) 專書(0) 專書論文(0)
  • 排除自我引用排除自我引用:3
  • 共同引用共同引用:56
  • 點閱點閱:64
西方繪圖藝術普遍將平衡視爲構圖首則，認爲繪圖作品的平衡性提供知覺上無形的參考架構，然多缺乏客觀實徵的佐證。部分學者藉眼動追蹤法探索構圖平衡性的影響。不過，這些文獻因無法排除混淆變項，且無嚴格統計程序而受質疑。本研究即企圖改良方法，發展「均勻」和「歷程」兩項客觀量化的視線軌跡指標，重複驗證此命題。本研究請視覺藝術專家，創作出高、低平衡性的刺激圖，要求受測者對圖片作平衡判斷與記憶測驗兩項作業，全程記錄受測者的視線軌跡。結果顯示：(1)不論平衡判斷作業或記憶作業，平衡性高低顯著影響視線均勻狀態；(2)僅在平衡判斷作業中，平衡性高低對觀看的視線跳躍幅度有顯著影響；(3)平衡性高低也顯著影響記憶。
Balance is considered as one of the most essential elements of aesthetics. However, few definite evidences were offered from objective or empirical aspects. In order to exclude the influence of confounding variables and to follow a strict statistical process, this study tried to develop two kinds of objective indicators with mathematical parameters called "uniform index" and "progressing index" to re-verify the influence of balance configuration during aesthetic evaluation. In this study, the manipulation of balance configuration was conducted by two experts in visual art. Twenty well-balanced pictures and twenty ill-balanced pictures were used as experimental stimuli. The participants were randomly assigned to perform the memory test or the balance judgment task after viewing each picture in one session. Eye movements were recorded using eye-tracking system when participants were performing the tasks. The following results were obtained: (1) The relationship between the balanced configuration and the uniform index achieved significant level totally, no matter what task was performed. (2) The relationship between the balance configuration and the progressing index achieved significant level only in the balance judgment task. (3) The balanced configuration did affect participants' memory performance significantly.
期刊論文
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17.Nodine, C.(1982)。Compositional Design as a Perceptual Determinant of Aesthetic Judgment。Review of Research in Visual Arts Education，15，43-54。  new window
18.Nodine, C.、McGinnis, J.(1983)。Artistic Style, Compositional Design, and Visual Scanning。Visual Arts Research，12，1-9。  new window
19.Privitera, C. M.、Stark, L. W.(2000)。Algorithms for Defining Visual Regions-of-interest: Comparison with Eye Fixations。IEEE Transactions on Pattern Analysis and Machine Intelligence，22(9)，970-982。  new window
20.Vartanian, O.、Martindale, C.、Podsiadlo, J.、Overbay, S.、Borkum, J.(2005)。The Link between Composition and Balance in Masterworks vs. Paintings of Lower Artistic Quality。British Journal of Psychology，96，493-503。  new window
21.Chi, Chia-Fen、Lin, Fang-Tsan(1997)。A new method for describing search patens and quantifying visual load using eye movement data。International Journal of Industrial Ergonomics，19(3)，249-257。  new window
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23.Langford, Roy Clinton(1935)。Ocular behavior and the principle of pictorial balance。The Journal of General Psychology，15，292-325。  new window
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25.Locher, Paul J.(2003)。Experimental techniques for investigating the contribution of pictorial balance to the creation and perception of visual displays。Empirical Studies of the Arts，21(2)，127-135。  new window
26.Locher, Paul J.(1996)。The contribution of eye-movement research to an understanding of the nature of pictorial balance perception: A review of the literature。Empirical Studies of the Arts，14(2)，143-163。  new window
27.Nodine, C. F.、McGinnis, J.(1983)。Artistic style, compositional design, and visual scanning。Visual Arts Research，12，1-9。  new window
28.McManus, I.、Edmondson, D.、Rodger, J.(1985)。Balance in pictures。British Journal of Psychology，76(3)，73-94。  new window
29.Monk, Andrew(2004)。The Product as a Fixed-Effect Fallacy。Human-Computer Interaction，19(4)，371-375。  new window
30.Locher, Paul J.、Nodine, C. F.(1989)。The perceptual value of symmetry。Computers and Mathematics with Applications，17，475-484。  new window
31.Locher, Paul J.、Stappers, Pieter Jan、Overbeeke, Kees(1999)。An empirical evaluation of the visual rightness theory of pictorial composition。Acta Psychologica，103(3)，261-280。  new window
32.Nodine, C. F.(1982)。Compositional design as a perceptual determinant of aesthetic judgment。Review of Research in Visual Arts Education，15，43-54。  new window
33.Privitera, Claudio M.、Stark, Lawrence W.(2000)。Algorithms for defining visual regions-of-interest: Comparison with eye fixations。IEEE Transactions On Pattern Analysis and Machine Intelligence，22(9)，970-982。  new window
34.Vartanian, Oshin、Martindale, Colin、Podsiadlo, Jacob、Overbay, Shane、Borkum, Jonathan(2005)。The link between composition and balance in masterworks vs. paintings of lower artistic quality。British Journal of Psychology，96(4)，493-503。  new window
35.林崇宏Lin, Chonghong(2002)。設計基礎原理：造型與構成的創意思考Sheji jichu yuanli。Zaoxing yu goucheng de chuangyi sikao。  延伸查詢new window
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37.安海姆Amheim, R.(1984)。藝術與視覺心理學Yishu yu shijue xinlixue（李長俊Li。Changjun [Trans。  延伸查詢new window
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44.Duchowski, A. T.(2003)。Eye tracking methodology。Theory and practice。  new window
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47.Monk, A.(2004)。The product as a fixed-effect fallacy。Human-Computer Interaction，19，371-375。  new window
48.Molnar, F.(1981)。About the role of visual exploration and aesthetics。In H。  new window
49.Nodine, C.(1982)。Compositional design as a perceptual determinant of aesthetic judgment Review of Research in Visual Arts Education。15，43-54。  new window
50.Nodine, C., & McGinnis, J.(1983)。Artistic style。compositional design，12，1-9。  new window
51.Langford, R.(1935)。Ocular behavior and the principle of pictorial balance。Journal of General Psychology，15，292-325。  new window
52.Privitera, C. M., & Stark, L. W.(2000)。Algorithms for defining visual regions-of-interest。Comparison with eye fixations，22(9)，970-982。  new window
53.Santelia, A.(2006)。Eye tracking for aesthetics。Unexplored possibilities，2009。  new window
54.Locher, P. J.(1996)。The contribution of eye-movement- research to an understanding of the nature of pictorial balance perception。A review of the literature，14(2)，143-163。  new window
55.Locher, P. J.(2003)。Experimental techniques for investigating the contribution of pictorial balance to the creation and perception of visual displays。Empirical Studies of the Arts，21(2)，127-135。  new window
56.Nodine, C., Locher P., & Krupinski, E.(1993)。The role of formal art training on the perception and aesthetic judgment of art compositions。Leonardo，26，219-227。  new window
57.Vartanian, O., Martindale, C., Podsiadlo, J.、Overbay, S., & Borkum, J.(2005)。The link between composition and balance in masterworks vs。paintings of lower artistic quality，96，493-503。  new window
58.Amheim, R.(1988)。The power of the center。A study of composition in the visual arts。  new window
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20.Molnar, F.(1981)。About the Role of Visual Exploration and Aesthetics。Advances in Intrinsic Motivation and Aesthetics。New York, NY。  new window
21.Arnheim, Rudolf(1988)。The power of the center: A study of composition in the visual arts。The power of the center: A study of composition in the visual arts。Berkeley, CA。  new window
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23.呂清夫(2003)。造型原理。造型原理。臺北。  延伸查詢new window
24.辛華泉(1999)。形態構成學。形態構成學。杭州。  延伸查詢new window
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31.呂清夫Lu, Qingfu(2003)。造型原理Zaoxing yuanli。臺北Taibei。  延伸查詢new window
其他
1.李賢輝(2008)。設計原理：平衡。  延伸查詢new window
2.Santella, A.(2006)。Eye Tracking for Aesthetics: Unexplored Possibilities。  new window
3.李賢輝。設計原則：平衡。  延伸查詢new window
4.Santella, Anthony。Eye tracking for aesthetics: Unexplored possibilities。  new window
 
 
 
 
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