Emergent categorization in the recognition of black and white paintings through conditional discrimination
Bibliographic Data
| ID | 4406499 |
|---|---|
| Authors | Paulo Roberto Dos Santos Ferreira (0000-0001-6794-7192, Universidade Federal da Grande Dourados, corresponding author), Diana Rasteli Santos (0000-0001-9739-0700, Universidade Federal da Grande Dourados), Waldir Monteiro Sampaio, Waldir Sampaio (0000-0002-6066-4314, Universidade Federal de São Carlos), Antonio Carlos Leme (0000-0003-2782-4301, Universidade Federal de São Carlos), Felipe Maciel Dos Santos Souza (0000-0002-2282-7784, Universidade Federal da Grande Dourados, corresponding author) |
| Year | 2021 |
| Volume | 34 |
| Issue | 1 |
| Pages | 24-24 |
| Publication date | 2021-12-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Psicologia Reflexão e Crítica (JOURNAL) |
| Journal identifiers | ISSN: 0102-7972 • E-ISSN: 1678-7153 |
| Publisher | Springer Science and Business Media LLC (PUBLISHER) |
| DOI | 10.1186/s41155-021-00191-y |
| PMID | 34328567 |
| OpenAlex | W3185153937 |
| Language | EN |
| References cited | 34 |
Background The emergent categorization involving paintings by renowned painters and their corresponding names was demonstrated by previous studies. However, the results of these studies suggest that the colors of the pictures may have played a preponderant role, obscuring other aspects of the stimuli that could be more directly related to the style of each painter. To verify this possibility, the present study used the same methodology of Ferreira et al. to investigate the establishment of emergent conditional relations between categories composed of black and white paintings and the names of their authors. Method The procedure consisted of the training of relations between each of the ten paintings and an abstract picture, for each of the three painters Botticelli, Monet, and Picasso. Relations between each of the three abstract figures and the printed name of one of the painters were verified in sequence. Finally, tests of relations between five trained and five untrained paintings of each artist and the printed names were conducted. Results The participants' performance suggests that the outcome was properly controlled by aspects pertinent to the paintings that belonged to each painter's category. Conclusions The results reinforced the data obtained previously with colored pictures, suggesting that the process of emergent categorization involving artificial categories of paintings is robust. It also indicates possibilities for future investigations, for example, using stimuli of other artistic productions, such as sculpture and music
Abstract art · Art · Categorization · Painting · PICASSO · Style (visual arts) · Visual arts · White (mutation) · Aesthetic Perception and Analysis · Artificial Intelligence · Computer Science · Face Recognition and Perception · Visual perception and processing mechanisms
| Citation velocity | historical |
|---|---|
| Highly cited | No |