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Aesthetics in Digital Photography
Author
Title
Aesthetics in Digital Photography / Henri Maître.
ISBN
9781394225958
1394225954
9781394225972
1394225970
1786307537
9781786307538
Publication
London : ISTE Ltd ; Hoboken, NJ : John Wiley & Sons, Inc., 2023.
Physical Description
1 online resource.
Local Notes
Access is available to the Yale community.
Notes
4.3.4. Work carried out by J. Rigau, M. Feixas and M. Bert
Description based on online resource; title from digital title page (viewed on August 16, 2023).
Access and use
Access restricted by licensing agreement.
Summary
Aesthetics in Digital Photography presents theories developed over the last 25 centuries by philosophers and art critics, who have sometimes been governed by the objectivity of perception, and other times, of course, by the subjectivity of human judgement. It explores the advances that have been made in neuro-aesthetics and their current limitations. In the field of photography, this book puts aesthetic hypotheses up against experimental verification, and then critically examines attempts to "scientifically" measure this beauty. Special attention is paid to artificial intelligence techniques, taking advantage of machine learning methods and large databases. Show less.
Variant and related titles
O'Reilly Safari. OCLC KB.
Other formats
Print version: Maître, Henri Aesthetics in Digital Photography Newark : John Wiley & Sons, Incorporated,c2023
Format
Books / Online
Language
English
Added to Catalog
April 29, 2024
Series
Interdisciplinarity, science and humanities series
Bibliography
Includes bibliographical references and index.
Contents
Cover
Title Page
Copyright Page
Contents
Introduction: Image and Gaze
Chapter 1. The Legacy of Philosophers
1.1. The objectivist approach
1.1.1. The source: ancient Greece
1.1.2. After Greece
1.1.3. Kant and modern aesthetics
1.1.4. Objectivism after Kant: from pseudo-subjectivism to aesthetic realism
1.2. The subjectivist approach
1.2.1. From classicism to romanticism
1.2.2. The moderns
1.2.3. The influence of neurobiology
1.3. Subjectivism and objectivism: an ongoing debate
Chapter 2. Neurobiology or the Arbitrator of Consciousness
2.1. fMRI protocols and neuroaesthetics
2.2. The fMRI quest for "beauty processes" in the brain
2.2.1. The role of the prefrontal cortex
2.2.2. The role of the insular cortex
2.2.3. The role of the visual areas
2.2.4. The role of memory and cognition
2.2.5. The role of embodiment
2.3. Responses from functional electric encephalography
2.4. A global cognitive scheme for aesthetic judgment?
2.4.1. J. Petitot's neurogeometric model
2.4.2. A. Chatterjee's aesthetic emotion model
2.4.3. The model by Brown et al
2.4.4. Model proposed by H. Leder
2.4.5. The model by C. Redies
2.4.6. The emotions model developed by S. Koelsch et al.
2.4.7. L.H. Hsu's model of emotions based on A. Damásio
2.4.8. Other models
2.5. A critique of neuroaesthetic methods
2.5.1. Criticism of neuroaesthetic methods
2.5.2. Criticisms of the objectives of neuroaesthetics
Chapter 3. What Are the Criteria For a Beautiful Photo?
3.1. Before we enter into the fray
3.1.1. What reference books do we have?
3.1.2. "Beauty of an image" or "quality of an image"?
3.1.3. A glossary of aesthetic appraisal
3.1.4. Measuring beauty
3.2. Composition
3.2.1. Complexity versus simplicity
3.2.2. Unity
3.2.3. A specific case in composition: landscapes
3.2.4. Using oculometry to analyze composition
3.2.5. Format or aspect ratio
3.2.6. The rule of thirds (RoT)
3.2.7. The center of the image
3.2.8. Other rules for composition
3.3. Histograms, spectral properties and textures
3.3.1. Histograms and gray levels
3.3.2. Focus, spectral density, fractals
3.3.3. Textures
3.4. Color
3.4.1. About the concept of color
3.4.2. Preferences related to isolated colors
3.4.3. Preferences related to color palettes
3.5. What behavioral psychosociology has to say
3.5.1. Images of nature
3.5.2. The aesthetics of faces
3.5.3. The role of the signature, title and context
3.5.4. Perception and memory: prototypicality
Chapter 4. Algorithmic Approaches to "Calculate" Beauty
4.1. First steps: C. Henry
4.2. G.D. Birkhoff's mathematical approach
4.3. Those who followed G.D. Birkhoff
4.3.1. Beauty according to H.J. Eysenck
4.3.2. The Post-War years: the designers, A. Moles and M. Bense
4.3.3. A dynamic approach: P. Machado and A. Cardoso
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