Abstract
This research examines the effect of social exclusion on consumers’ preferences for visual density. Based on seven experimental studies, we reveal that consumers who perceive themselves as ...socially excluded evaluate products with dense visual patterns more positively than their nonexcluded peers. This effect occurs because social exclusion triggers a feeling of psychological emptiness and dense patterns can provide a sense of being “filled,” which helps to alleviate this feeling of emptiness. This effect is attenuated when consumers physically fill something or experience a feeling of “temporal density” (i.e., imagining a busy schedule with many tasks packed into a short time). These results shed light on consumers’ socially grounded product aesthetic preferences and offer practical implications for marketers, designers, and policy makers.
Intensità nello spazio urbano Celestini, Gianni
Ri-vista. Ricerche per la progettazione del paesaggio,
11/2021
Journal Article
Recenzirano
Mutamenti investono l’habitat contemporaneo, determinando una rivoluzione di comportamenti con impatti mai visti per rapidità ed intensità sulla ridefinizione di forme e funzioni dello spazio. ...Espressioni come ‘luogo d’incontro’ e ‘scambio sociale’ seppur generiche e prive di carattere esprimono l’esigenza di ritrovare legami tra le persone messi a dura prova da una serie di processi, alcuni di lunga durata, che sembrano minare alla radice lo spirito comunitario insito nel concetto di urbanità. In un mondo sempre più denso di esseri, cose, informazioni e immagini i territori sono modellati dalle increspature e da collisioni inedite che provocano la scomparsa degli spazi comuni della città.
Nella pratica dei paesaggisti è ormai consolidata la consapevolezza che gli spazi aperti esprimono un potenziale strutturante e relazionale per l’habitat urbano; possono diventare il luogo di accadimenti possibili e la loro natura accogliente rappresenta una formidabile energia propulsiva con la quale rivelare l’intensità. È su questo terreno che il progetto può giocare un ruolo, non certo pacificatore né ordinatore, ma riconoscendo e attivando il potenziale della situazione, lavorando con ciò che c’è anche se si tratta di caratteri contraddittori, incerti, instabili.
First study on empty places in photography and the Covid-19 pandemic. In the aftermath of Covid-19, the subject of ‘empty places’ has gained renewed topicality and resonance. Watching, Waiting ...presents a collection of essays that brings emptiness into interdisciplinary focus as an object of study that extends beyond the present. The contributors approach the specific interrelationships of photography and place through emptiness by considering historical and contemporary material in equal measure. Drawing on architecture, anthropology, sociology, and public health, among other fields, they provide insights into geographically and temporally diverse production models of empty places and their corresponding complex and sensitive global and local relations, while also tackling the ethics of behaviour and protests that unfold within them. The book's chapters, both photographic and scholarly essays, cover areas that range widely both thematically and geographically, spanning static film footage of Nicosia's Buffer Zone, protest photographs in the wake of the Black Lives Matter movement in Bristol, staged images from the University of Zagreb's ethnological archives, historic landscape and architectural photography, aerial shots of Covid-19 mass graves in Brazil, photos of artificially built field hospitals and quarantine rooms during the pandemic, and images of empty airports at night. Through still and moving images, Watching, Waiting examines the photographic aestheticisation of emptiness, existing stereotypes of ‘empty places’, and transformations of human experiences. Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Ruth Baumeister (Aarhus School of Architecture), Isabelle Catucci da Silva (Federal University of Paraná), Stella Fatović-Ferenčić (Croatian Academy of Sciences and Arts), Martin Kuhar (Croatian Academy of Sciences and Arts), Catlin Langford (Centre for Contemporary Photography), Jessie Martin (University of West London), Stuart Moore (University of the West of England), Luca Nostri (Independent Artist Photographer), Kayla Parker (University of Plymouth), Bec Rengel (University of the West of England), Tihana Rubić (University of Zagreb), Klaudija Sabo (University of Klagenfurt), Anna Schober (University of Klagenfurt), Elke Katharina Wittich (Leibniz University Hannover)
The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is ...to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi.
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