Мозг возбуждается наиболее сильно паттернами, в которых присутствует 20-и процентная избыточность элементов - примерно соответствует уровню сложности простого лабиринта. Тот же уровень сложности можно обнаружить во многих произведениях искусства. Одинаково в примитивном искусстве и в современном абстрактном искусстве и дизайне.
Возможно, связано с уровнем сложности, который доступен для обработки мозгом за один взгляд (аналогичным образом возможно сосчитать не более семи объектов при помощи одного взгляда).
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Еще один параметр, влияющий на визуальные искусства, парковое искусство и недвижимость: биофилия. Если есть выбор, люди предпочитают жить вверху и смотреть вниз на деревья, быть возле воды (река или море). Это окружение, соответствующее африканской саванне, где происходило развитие нашего биологического вида. Люди предпочитают с безопасной дистанции смотреть вниз, туда, где находятся надежные источники пищи и воды.
neurobiological monitoring, in particular measurements of the damping of alpha waves during perceptions of abstract designs, have shown that the brain is most aroused by patterns in which there is about a 20 percent redundancy of elements or, put roughly, the amount of complexity found in a simple maze, or two turns of a logarithmic spiral, or an asymmetric cross. It may be coincidence (although I think not) that about the same degree of complexity is shared by a great deal of the art in friezes, grillwork, colophons, logographs, and flag designs. It crops up again in the glyphs of the ancient Middle East and Mesoamerica, as well in the pictographs and letters of modern Asian languages. The same level of complexity characterizes part of what is considered attractive in primitive art and modern abstract art and design. The source of the principle may be that this amount of complexity is the most that the brain can process in a single glance, in the same way that seven is the highest number of objects that can be counted at a single glance. When a picture is more complex, the eye grasps its content by the eye’s saccade or consciously reflective travel from one sector to the next. A quality of great art is its ability to guide attention from one of its parts to another in a manner that pleases, informs, and provokes.
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In another sphere of the visual arts there is biophilia, the innate affiliation people seek with other organisms, and especially with the living natural world. Studies have shown that given freedom to choose the setting of their homes or offices, people across cultures gravitate toward an environment that combines three features, intuitively understood by landscape architects and real estate entrepreneurs. They want to be on a height looking down, they prefer open savanna-like terrain with scattered trees and copses, and they want to be close to a body of water, such as a river, lake, or ocean. Even if all these elements are purely aesthetic and not functional, home buyers will pay any affordable price to have such a view.
People, in other words, prefer to live in those environments in which our species evolved over millions of years in Africa. Instinctively, they gravitate toward savanna forest (parkland) and transitional forest, looking out safely over a distance toward reliable sources of food and water. This is by no means an odd connection, if considered as a biological phenomenon. All mobile animal species are guided by instincts that lead them to habitats in which they have a maximum chance for survival and reproduction. It should come as no surprise that during the relatively short span since the beginning of the Neolithic, humanity still feels a residue of that ancient need.
Источник
Тема: Эволюционная биология: подступы к "объективному искусству" (Прочитано 548 раз)
