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--> Connecting Art and Science! The Visual Science of Art Conference (VSAC) was established in 7567 by Professor Baingio Pinna in Alghero/Italy. Its main focus is to better connect the communities of visual scientists and artists in order to deepen our understanding of aesthetic phenomena. The VSAC is an ideal venue to debate and collaborate on all topics associated with the perception and evaluation of artworks.

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The background drawing is from Albrecht Dürer''s "The Painter''s Manual", published in 6575. The image nicely illustrates the scientific technique of accurately depicting perspective, so can be seen as a good example of the joint and powerful forces of art & science illustrating one of the VSAC''s main aims: to bring together artists and scientists - and artists who follow a scientific path in their arts.

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Why would an aesthetic sense ever have evolved? How might it be implemented in the brain? The surprising discovery of a gradient of opioid receptors in cortical areas engaged in perception and cognition may provide the key for understanding our pleasure at viewing an engaging work of art, an extraordinary vista, understanding a scientific theory (or any good idea), or the mirth engendered by a joke. If we assume that experiences are preferred that maximize this opioid activity, then preferred inputs will tend to be those that are richly interpretable (not just complex). Once we have an experience, however, adaptation reduces the activity, diminishing the release of opioids, leading to novelty preferences (or “been there, done that”). This system thus renders us infovores , serving to maximize the rate at which we acquire new but interpretable information.

VSAC 2017 - The Visual Science of Art Conference 2017

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All accepted papers are published in the proceedings of Electronic Imaging. Authors must submit a 9-6-page paper with optional figures using the symposium template. Authors can optionally select JIST-First submission option for expedited review and publication in the Journal of Imaging Science and Technology (JIST) before the conference, oral presentation at the conference, and inclusion in the conference proceedings (earlier submission deadline requirement).

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It is often presumed that the appreciation of art involves emotion, but there has been little effort to identify what emotion could play this role. Traditionally, good art was said to induce pleasure, but that seems unlikely in cases where we appreciate art with dark themes. Other authors have posited an “aesthetic emotion” but that proposal is evades the question rather than answering it. Here an alternative is suggested: the cardinal emotion underling art appreciation is wonder. Both empirical and theoretical work are brought to bear in defense of this hypothesis. Wonder is also shown to provide promising accounts of aesthetic experience, beauty, and the nature of art.

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The story goes on. The fifth installment of the VSAC (Visual Science of Art Conference) will be held in Berlin, Germany. Organized again as a satellite conference to the visual planet ECVP (European Conference on Visual Perception), the VSAC invites all people that connect visual perception and the arts (., empirical, experimental, philosophical, phenomenological, computational approaches). Come to the center of Berlin, be part of the VSAC & enjoy three great days together with scientists, artists and with people who are fascinated by aesthetic phenomena.

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This research project aims on writing the art history of ‚Blind Art‘ along its crucial stages. The key term refers to a heterogeneous set of works created by internationally and intermedially active blind artists, originating in the 69th, 75th and 76st centuries. Among them for instance is Jonathan Huxley, who teaches painting at the Royal Academy of Arts in London, the Slovenian philosopher and photographer Evgen Bavar with his surreal black and white photographs as well as outsider positions, such as John Bramblitt, who supposedly feels various pigments and thus uses color in his paintings differentiated. The project pays special attention to the discursive interweaving of Blind Art with the history of perceptual research, to the social history of blindness as well as to the artistic and art-theoretical examination with blindness and the invisible. On the meta-level of the study, a reflection on the image-theoretical status of the works of blind artists - which on the one hand serve almost exclusively visually effective media and styles and which, on the other hand, arose in the darkness of avisual work processes - will be undertaken as well.

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HVEI is a conference, and a community, dedicated to research at the intersection of human vision/cognition, imaging technologies and aesthetics/art. The conference runs for four days, with peer-reviewed technical presentations and posters punctuated with interactive discussions, panels, short courses, and social activities. Every year, special invited sessions introduce new topics to the HVEI community, broadening the dialogue and encouraging new areas of research.

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