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MUTUAL GAZE AMONG STRANGERS
Title
MUTUAL GAZE AMONG STRANGERS.
Creator
Vaknin, Allie, Hastings, Sally, University of Central Florida
Abstract / Description
The purpose of this study was to investigate the reactions people experienced when engaged in extended eye contact with a stranger. Artist Marina Abramovic and an organization entitled The Liberators International have demonstrated a spectrum of reactions, many emotionally-charged, that have occurred from the opportunity to sit across from and gaze into the eyes of a stranger. Current research on eye contact has been predominantly quantitative, with no available research that qualitatively...
Show moreThe purpose of this study was to investigate the reactions people experienced when engaged in extended eye contact with a stranger. Artist Marina Abramovic and an organization entitled The Liberators International have demonstrated a spectrum of reactions, many emotionally-charged, that have occurred from the opportunity to sit across from and gaze into the eyes of a stranger. Current research on eye contact has been predominantly quantitative, with no available research that qualitatively investigates the scenario in focus. The design of this study involved interviewing 35 people who participated in "The World's Biggest Eye Contact Experiment," where individuals paired with a partner and gazed into each other's eyes for one minute. The data revealed a significant overlap between negative and positive face, where individuals sought out the experience in order to exceed their comfort zones and to foster connections with other people. Participants reported feeling a sense of vulnerability, which was attributed to civil inattention and the simultaneous threat to and expansion of negative face.
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Date Issued
2018
Identifier
CFH2000318, ucf:45766
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000318
COHABITATION: LOOKING THROUGH A KEYHOLE
Title
COHABITATION: LOOKING THROUGH A KEYHOLE.
Creator
Torrecampo, Mary Joy, Poindexter, Carla, University of Central Florida
Abstract / Description
Initially, my developing body of work aimed to redesign the traditions of representational painting, specifically the female nude, to depict the contemporary notions of lesbianism and femininity in an honest and empowering manner as a form of identity and not as vehicle for voyeurism. As an artist who paints the female nude and identifies as a woman and a lesbian, I examine the preexisting notions of the male gaze and the effect of socialization as it pertains to my work. The act of looking...
Show moreInitially, my developing body of work aimed to redesign the traditions of representational painting, specifically the female nude, to depict the contemporary notions of lesbianism and femininity in an honest and empowering manner as a form of identity and not as vehicle for voyeurism. As an artist who paints the female nude and identifies as a woman and a lesbian, I examine the preexisting notions of the male gaze and the effect of socialization as it pertains to my work. The act of looking from the point of view of a woman, which is not synonymous with a "female gaze", or from the point of view of a lesbian, is not a birthright, but a conscious effort to constantly question the way we see and produce pictures and realizing that the male gaze permeates most images of female nudes. By the nature of my sexuality and my exposure to existing male-produced images, do I see the female nude through the male gaze or is there a gaze that is essentially female? Does it matter either way if the image is aesthetically compelling? My paintings neither attempt to conform to the male gaze or debunk it, nor do I attempt to prove the existence of a female gaze. Like Edgar Degas, I wish to look through a keyhole - a form of voyeurism - to see people outside of their public facade.
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Date Issued
2014
Identifier
CFH0004713, ucf:45402
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004713
PERCEPTION OF FACIAL EXPRESSIONS IN SOCIAL ANXIETY AND GAZE ANXIETY
Title
PERCEPTION OF FACIAL EXPRESSIONS IN SOCIAL ANXIETY AND GAZE ANXIETY.
Creator
Necaise, Aaron, Neer, Sandra, University of Central Florida
Abstract / Description
This study explored the relationship between gaze anxiety and the perception of facial expressions. The literature suggests that individuals experiencing Social Anxiety Disorder (SAD) might have a fear of making direct eye contact, and that these individuals also demonstrate a hypervigilance towards the eye region. It was thought that this increased anxiety concerning eye contact might be related to the tendency of socially anxious individuals to mislabel emotion in the faces of onlookers. A...
Show moreThis study explored the relationship between gaze anxiety and the perception of facial expressions. The literature suggests that individuals experiencing Social Anxiety Disorder (SAD) might have a fear of making direct eye contact, and that these individuals also demonstrate a hypervigilance towards the eye region. It was thought that this increased anxiety concerning eye contact might be related to the tendency of socially anxious individuals to mislabel emotion in the faces of onlookers. A better understanding of the cognitive biases common to SAD could lead to more efficient intervention and assessment methods. In the present study, the Depression Anxiety Stress Scale-21 (DASS-21) and the Social Phobia and Anxiety Inventory-23 (SPAI-23) were used to measure social anxiety, depression, and overall distress. These forms allowed us to separate participants who reported high socially anxious and depressive traits from those in the normal range. We then compared anxiety concerning mutual eye contact as measured by the Gaze Anxiety Rating Scale (GARS) to performance on a facial recognition task. Performance was measured as recognition accuracy and average perceived intensity of onlooker expression on a scale of 1-5. A linear regression analysis revealed that higher GARS scores were related to higher perceived intensity of emotion by socially anxious individuals. An exploratory correlation analysis also revealed that higher gaze anxiety was related to lower accuracy at identifying neutral emotions and higher accuracy at identifying angry emotions. While past research has demonstrated these same biases by socially anxious individuals, gaze anxiety had not been explored extensively. Future research should investigate gaze anxiety�s role as a moderating variable.
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Date Issued
2016
Identifier
CFH2000039, ucf:45554
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000039
"BUT THIS IS WHAT I SEE; THIS IS WHAT I SEE": RE-IMAGINING GENDERED SUBJECTIVITY THROUGH THE WOMAN ARTIST IN PHELPS, JOHNSTONE, AND WOOLF
Title
"BUT THIS IS WHAT I SEE; THIS IS WHAT I SEE": RE-IMAGINING GENDERED SUBJECTIVITY THROUGH THE WOMAN ARTIST IN PHELPS, JOHNSTONE, AND WOOLF.
Creator
Wayne, Heather, Jones, Anna, University of Central Florida
Abstract / Description
Since the publication of Laura MulveyÂÂ's influential article ÂÂ"Visual Pleasure and Narrative Cinema,ÂÂ" in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women...
Show moreSince the publication of Laura MulveyÂÂ's influential article ÂÂ"Visual Pleasure and Narrative Cinema,ÂÂ" in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women writers of the nineteenth and twentieth centuriesÂÂ--including Elizabeth Stuart Phelps, Edith Johnstone, and Virginia WoolfÂÂ--recognized the power of the woman artist to undermine the trope of the male gazing subject and a passive female object. Examining PhelpsÂÂ's The Story of Avis (1877), JohnstoneÂÂ's A Sunless Heart (1894), and WoolfÂÂ's To the Lighthouse (1927) illustrates how the woman artistÂÂ's active vision disrupts MulveyÂÂ's ÂÂ"active/male and passive/femaleÂÂ" binary of vision. PhelpsÂÂ's painter-heroine Avis destabilizes the power of the male gaze not only by exerting her own vision, but also by acting as an active object to manipulate the way she is seen. Johnstone uses artist Gasparine to demonstrate the dangers of vision shaped by either aesthetic or political conventions, suggesting that even feminist idealism can promote the objectification of its heroines. Finally, Woolf redefines the terms of objectification through painter Lily Briscoe, whose vision imbues material objects with subjectivity, thereby going beyond the boundaries between male and female to blur the distinction between subject and object. Through their novels, Phelps, Johnstone, and Woolf suggest that depictions of human experience need to be radically re-thought in order to adequately represent the complexity of subjectivity.
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Date Issued
2010
Identifier
CFE0003291, ucf:48491
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0003291
Visual Scanpath Training for Facial Affect Recognition in a Psychiatric Sample
Title
Visual Scanpath Training for Facial Affect Recognition in a Psychiatric Sample.
Creator
Chan, Chi, Bedwell, Jeffrey, Cassisi, Jeffrey, Sims, Valerie, University of Central Florida
Abstract / Description
Social cognition is essential for functional outcome and quality of life in psychiatric patients. Facial affect recognition (FAR), a domain of social cognition, is impaired in many patients with schizophrenia and bipolar disorder. There is evidence that abnormal visual scanpath patterns may underlie FAR deficits, and metacognitive factors may impact task performance. The present study aimed to develop a brief, individually-administered, computerized training program to normalize scanpath...
Show moreSocial cognition is essential for functional outcome and quality of life in psychiatric patients. Facial affect recognition (FAR), a domain of social cognition, is impaired in many patients with schizophrenia and bipolar disorder. There is evidence that abnormal visual scanpath patterns may underlie FAR deficits, and metacognitive factors may impact task performance. The present study aimed to develop a brief, individually-administered, computerized training program to normalize scanpath patterns in order to improve FAR in patient with a psychosis history or bipolar I disorder. The program was developed using scanpath data from 19 nonpsychiatric controls (NC) while they completed a FAR tasks that involved identification of mild or extreme intensity happy, sad, angry, and fearful faces, and a neutral expression. Patients were randomized to a waitlist (WG; n = 16) or training group (TG; n = 18). Both patient groups completed a baseline FAR task (T0), the training (or a repeated FAR task as a control for WG; T1), and a post-training FAR task (T2). Patients evaluated their own performance and eyetracking data were recorded. Results indicated that the patient groups did not differ from NC on FAR performance, metacognitive accuracy, or scanpath patterns at T0. TG was compliant with the training program and showed changes in scanpath patterns during T1, but returned to baseline scanpath patterns at T2. WG and TG did not differ at T2 on FAR performance, metacognitive accuracy, or scanpath patterns. Across both patient groups, FAR performance for mild intensity emotions were more sensitive to the effect of time than for extreme intensity emotions. Exploratory analysis showed that at baseline, greater severity of negative symptoms was associated with poorer metacognitive accuracy (i.e., accuracy in their evaluation of their performance). Limitations to the study and future directions are discussed.
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Date Issued
2016
Identifier
CFE0006280, ucf:51613
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFE0006280
THE EARLY MODERN SPACE: (CARTOGRAPHIC) LITERATURE AND THE AUTHOR IN PLACE
Title
THE EARLY MODERN SPACE: (CARTOGRAPHIC) LITERATURE AND THE AUTHOR IN PLACE.
Creator
Myers, Michael, Gleyzon, Francois-Xavier, University of Central Florida
Abstract / Description
In geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of...
Show moreIn geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of his gaze�and the product reflected that author's judgment. This is not a study of maps as such but of Early Modern literature, cartographic by nature�the observations of the author were the motif of its design. However, rather than concretize observational judgment through art, the Early Modern literature discussed asserts a reverse relation�the generation of the material which may be observed, the reality, by the views of authors. Spatiality is now an emerging philosophical field of study, taking root in the philosophy of Deleuze & Guattari. Using the notion prevalent in both Postmodern and Early Modern spatiality, which makes of perception a collective delusion with its roots in the critique of Kant, this thesis draws a through-line across time, as texts such as Robert Burton's An Anatomy of Melancholy, Thomas More's Utopia, and selections from William Shakespeare display a tendency to remove value from the standard of representation, to replace meaning with cognition and prioritize a view of views over an observable world. Only John Milton approaches perception as possibly referential to objective reality, by re-inserting his ability to observe and exist in that reality, in a corpus which becomes less generative simulations of material than concrete signposts to his judgment in the world.
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Date Issued
2015
Identifier
CFH0004899, ucf:53148
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004899