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Captions with Several Levels of Explanation
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Procedia Computer Science 00 (2019) 000–000 Procedia Computer Science 00 (2019) 000–000 Procedia Computer Science 159 (2019) 2335–2344
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23rd International Conference on Knowledge-Based and Intelligent Information & Engineering 23rd International Conference on Knowledge-Based Systems and Intelligent Information & Engineering Systems
Captions Captions with with Several Several Levels Levels of of Explanation Explanation b Akinori Abea,∗ a,∗, Kotone Tadakib Akinori Abe , Kotone Tadaki a
Faculty of Letters, Chiba University, 1-33 Yayoi-cho, ofInage-ku, Letters, Chiba 1-33 Yayoi-cho, Chiba University, 263-8522, Japan Inage-ku, Chiba 263-8522, Japan [email protected], [email protected] [email protected], [email protected] Graduate School of Humanities and Public Affairs, Chiba University, Graduate1-33 School of Humanities andChiba Public263-8522, Affairs, Chiba Yayoi-cho, Inage-ku, JapanUniversity, 1-33 Yayoi-cho, Inage-ku, Chiba 263-8522, Japan [email protected] [email protected] a Faculty
b b
Abstract Abstract For the art appreciation in museums, usually a certain information will be provided as a caption. The visitor usually read the For the art to appreciation museums, usually a certain willbebenecessary providedfor asordinal a caption. The understanding visitor usuallyartworks. read the description help his/herinunderstanding artworks. Thus, information such a help will person’s description to help his/her understanding artworks. Thus, such a help will be necessary for ordinal person’s understanding artworks. (Art) museums usually prepare such descriptions for general visitors. The quality and quantity of description sometimes influence (Art) usually such visitors. The quality and quantity of description sometimes influence the artmuseums appreciations. Inprepare the paper. wedescriptions will discussfor thegeneral effect of information in captions. Especially, we will discuss the amount of the art appreciations. paper.intelligent/cognitive we will discuss the effect of information captions. Especially, we will discuss the amount of information accordingIntothe visitor’s level. The discussion in will be conducted as curation. information according to visitor’s intelligent/cognitive level. The discussion will be conducted as curation. c 2019 ⃝ 2019 The The Authors. Author(s). Published Elsevier B.V. © Published byby Elsevier B.V. c 2019 ⃝ The Author(s). Published bythe Elsevier B.V. This is This is an an open open access access article article under under the CC CC BY-NC-ND BY-NC-ND license license (https://creativecommons.org/licenses/by-nc-nd/4.0/) (https://creativecommons.org/licenses/by-nc-nd/4.0/) This is an open access article under the BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) under responsibility of International. Peer-review of KES KESCC International. Peer-review under responsibility of KES International. Keywords: art appreciation; curation; the effect of information; chance discovery Keywords: art appreciation; curation; the effect of information; chance discovery
1. Introduction 1. Introduction For the art appreciation in museums, usually a certain information will be provided as a caption. Visitors usually For art appreciation in museums, usually a Thus, certain information be provided a caption. Visitors usually read thethe description to help his/her understanding. such a help willwill be necessary foras ordinal person’s understandread the description to help his/her understanding. Thus, such a help will be necessary for ordinal person’s understanding. Museums usually prepare such descriptions for general visitors. The problem for reading these captions is visitors ing. prepare descriptions for general visitors. The forFor reading these captions visitors will Museums not see theusually art works after such reading the descriptions to understand theproblem art works. the problems Tadakiisand Abe will not see the art works after reading the descriptions to understand the art works. For the problems Tadaki and Abea conducted several experiments[10, 11]. The experiments showed several interesting results. One of them was that conducted several experiments[10, 11]. The experiments showed several interesting results. One of them was that title sometimes influences visitor’s thinking In the experiment, title was hidden. But after reading the title, one of thea title sometimes influences thinking In the title. experiment, title was hidden. But after as reading the title, one of the participants added the newvisitor’s image according to the This phenomena can be regarded the effect of information. participants added the new image according to the title. This phenomena can be regarded as the effect of information. By reading the title, information included the title was obtained. The more result was that the favorability rate was By reading title, information included the title was obtained. more result wassee thatchapter the favorability rate was higher in thethe question condition than in the subjective condition (forThe more information, 3). Thus, accoring higher in the question condition than in the subjective condition (for more information, see chapter 3). Thus, accoring to the desctiption of captions, the status of the art appreciation might change. to the desctiption of captions, the status of the art appreciation might change. ∗ Akinori Abe. Tel.: +81-43-290-3577 c 2019 The Author(s). Published by Elsevier B.V. 1877-0509 ⃝ ∗ Akinori Abe. Tel.: +81-43-290-3577 c 2019 1877-0509 ⃝ The Author(s). Published by Elsevierlicense B.V. (https://creativecommons.org/licenses/by-nc-nd/4.0/) This is an open access under the CC BY-NC-ND 1877-0509 © 2019 Thearticle Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of KES International. This is an open access article under the CC BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under of KES International. Peer-review underresponsibility responsibility of KES International. 10.1016/j.procs.2019.09.408
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In this paper. we will discuss the effect of information in captions. Especially, we will discuss the amount of information according to visitor’s intelligent/cognitive level. The discussion will be conducted as curation. 2. Curatiion Recently, in several situations, the word “curation” has been used. For instance, in the marketing strategies, for fashion shows, and for a DJ etc. This section reviews various types of curation. Actually curatorial task is usually used for tasks in (art) museum. In the previous papers we several times reviewed curation, so we introduce very typical curation which makes the visitors think themselves. 2.1. (General) curation There is at least a person who is responsible as a “curator” in (special) exhibitions, galleries, archives, or (art) museums. Their main task of curator is a curatorial task, which is multifaceted. Curator comes from a Latin word “cura” which means cure. Then originally it used for a person who take care of a cultural heritage. In the report by American Association of Museums Curators Committee (AAMCC) [6], they pointed out “curators are highly knowledgeable, experienced, or educated in a discipline relevant to the museum’s purpose or mission. Curatorial roles and responsibilities vary widely within the museum community and within the museum itself, and may also be fulfilled by staff members with other titles.” Then they showed the definition of curator as follows; • Remain current in the scholarly developments within their field(s); conduct original research and develop new scholarship that contributes to the advancement of the body of knowledge within their field(s) and within the museum profession as a whole. • Make recommendations for acquiring and deaccessioning objects in the museum collection. • Assume responsibility for the overall care and development of the collection, which may include artifacts, fine art, specimens, historic structures, and intellectual property. • Advocate for and participate in the formulation of institutional policies and procedures for the care of the collection that are based on accepted professional standards and best practices as defined by AAM, CurCom, and other relevant professional organizations. • Perform research to identify materials in the collection and to document their history. • Interpret the objects belonging or loaned to the museum. • Develop and organize exhibitions. • Contribute to programs and educational materials. • Advocate and provide for public use of the collection. • Develop or contribute to monographs, essays, research papers, and other products of original thought. • Represent their institution in the media, at public gatherings, and at professional conferences and seminars. • Remain current on all state, national, and international laws as they pertain to objects in the museum collection. In addition, AAMCC showed curatorial responsibilities as follows; A. B. C. D. E.
Research, Scholarship, and Integrity Interpretation Acquisition, Care, and Disposal Collection Access and Use Replication of Objects in the Collection
Thus curators have responsibilities for various aspects of exhibition activities. However, the most important activity will be a plan of exhibition. For that the above activities such as research, interpretation and acquisition are necessary. They should properly exhibit a truth which is result of their researches and interpretations. In addition, their researches and interpretations properly communicate to the visitors. In the following sections, however, we will introduce the curation example with implicit communication of curator’s researches and interpretations.
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The following sections show special and outstanding exhibitions as new type of curation. 2.2. Exhibition “Bacon and Caravaggio” An exhibition “Bacon and Caravaggio” was held in Museo e Galleria Borghese, Roma, Italy during October 2 2009 and January 24 2010. The display policy of this exhibition is rather different from the general special exhibition. First, the special exhibition was not separated from the space for permanent collections. Of course several Caravaggio’s works were exhibited in their original places. The other Caravaggio’s works and Bacon’s works were exhibited between the permanent collections. For this type exhibition, usually exhibition is educational and two painters are compared in various point, for instance days and society painters lived. Before arriving at the exhibition, my expectation was that it would be an exhibition to address the contrast between the drawing policies of Bacon and Caravaggio. Caravaggio usually painted a perfect body of human beings. On the other hand, Bacon usually painted a flesh of human beings most of parts are removed to express the essence of human existence. However, in the catalogue of the exhibition “Bacon and Caravaggio,” at first, Coliva wrote “This exhibition proposes a juxtaposition of Bacon and Caravaggio. It intends to offer visitors an opportunity for an aesthetic experience rather than an educational one... [7].” Then Coliva continued “An exhibition of generally conceived and prepared with a historicist mentality, but when it materializes, the simultaneous presence of the works — in the sense precisely of their hanging — opens up parallels and poses very complex and spontaneous questions, which may even be unexpected and not all stem exactly from questions initially posed by art-historical motives and theses. There are parallels that appear by themselves to the visitor’s sensibility and are not imposed by a theory of the curator. This is certainly one aspect of the vitality of exhibitions, which make the works live and in this are necessary for the works. The display itself, in the sense of the presentation of the works that appear in an exhibition —the spectacle of their being on display — creates trains of thought that are independent of the interpretations provided by art-historical scholarship. And since for a profound experience of understanding a work these ramifications sometimes are more surprising and significant than the achievements of a specialized scholarship in its own field of action, an art raised to the status of an enigma like Bacon’s seems to require the gamble of provoking these parallels. And since at the time, and again because of its qualitative greatness, Caravaggio’s art deserves a similar provocation, the juxtaposition thus satisfies a legitimate aesthetic desire. On the other hand, the juxtaposition is a modest and prudent solution, not so much for demonstrating, but for offering the attribute of “genius” — which the expressive common language attributes to the great artist of the past — opportunities to manifest itself. And the juxtaposition is induced by the Galleria Borghese itself, one of the most sensitive spaces with the simultaneous presence of genius.” Besides the importance in aesthetics and philosophy, we think the most important point is that “There are parallels that appear by themselves to the visitor’s sensibility and are not imposed by a theory of the curator.” That is, though actually a curator has a certain philosophy, he/she does not insist his/her philosophy but visitors will be able to discover additional meanings as well as the curator’s intended philosophy. This type of curation used to be rare, but recently the importance of this type of curation has been recognised. In fact the curation does not seem to make effort to make visitors understand what should be informed. Furthermore this type of curation reduces detailed explanations. However the merit of this type of curation is make visitors think themselves. That is, visitors will try to interpret/understand as many as possible, and they will be understand more than what are shown in the captions. 2.3. Exhibition “Information or Inspiration? Japanese aesthetics to enjoy with left side and right side of the brain” The exhibition “Information or Inspiration? Japanese aesthetics to enjoy with left side and right side of the brain” was held in Suntory Museum of Art, Tokyo, Japan, from April 27 to June 2, 2019. The concept of curation was described in the HP (https://www.suntory.co.jp/sma/exhibition/2019_2/index.html) as “[w]hen we encounter something beautiful, we usually experience two kinds of reactions. One may be moved by learning the background of the work or the artist, while the other one is an emotional excitement we feel for no apparent reason. Inspired by this duality, Oki Sato, chief designer and founder of nendo, proposes to enjoy this collection of Japanese art from
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two different perspectives; an informative way for the left side of the brain, and a more intuitive approach for the right side of the brain. In other words, this exhibition can be enjoyed twice. While you learn new things about Japanese aesthetics, you can also learn a little bit about yourself. So, do you prefer information or inspiration?” The exhibition has two entrances —black and white. The black line is for an inspiration, where the main reason for an “intuitive attraction” such as colour, details and structure is extracted and exhibited. There is completely no written information. On the other hand, the white line is for an information, where all information such as a historical context, technique, producer’s intentions are fully explained. First we took a black line and after that we took a white line. During the black line we could not fully understand, for instance, why such shapes appeared or why the art works exhibited as it was. When we went through the white line, we found too much explanations part of which we ignored. Because we have already known the explanations. In fact I could see a work from the different side and different way. For instance in the black line, a tool box was disassembled to several parts made of plastic which we could assemble. In the white line, we could see the tool box as it was. In a white line a tea cup was exhibited normally (from the front), while in a black line the tea cup could be seen from the bottom (Fig. 1). For the cup, information such as a historical context, technique, and producer’s intentions were fully explained. The name of the tea cup is “ripe persimmon (nŁ‘).” If we see it from the bottom, the reason for the name can be observed. Accordingly, the tea cup is observed from the bottom in the black line. However, if we take the black line first, some of us will not understand the direction. After when we take the white line, we will be able to understand the secret of naming. This type of curation is very unique, interesting and impressive.
Fig. 1. A display image of tea cup (from https://www.suntory.co.jp/sma/exhibition/2019_2/index.html)
It was very interesting curation. However for the white way, we felt too much information. we felt it was better to provide in a suitable level. However since the exhibition is for general visitors, it will be the best way to show as many information as possible. 2.4. Curation as Chance Discovery In [1], Abe proposed and defined a concept of curation in chance discovery1 . Though in various articles, the definition of a “chance” is described which was introduced by Ohsawa [9], I’d like to introduce it here again. In fact, it rather differs from the original definition in [9] to reflect the recent research interests. 1 In [2] and [3], I extended the definition of curation in chance discovery, which introduced a concept of holistic communication [5]. In this paper, we used the extended version of curation.
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A chance is rare, hidden, potential or novel event(s) / situation(s) that can be conceived either as a future opportunity or risk. Then “chance discovery” research is a type of research to establish methods, strategies, theories, and even activities to discover a chance. In addition, it aims at discovering human factors for chance discoveries. Accordingly a definition of curation in chance discovery is: Curation is a task to offer users opportunities to discover chances. Curation should be conducted with considering to offer implicit and potential possibilities. Chances should not be explicitly displayed to users. However, such chances should rather easily be discovered and arranged according to the user’s interests and situations. This can be achieved for instance by affordance. • There can be a certain holistic communication environment. This type of holistic communication might function as media to discover chance for novice users. • There should be a certain freedom for user to interpret a key person, matter, thing or event, which should only stimulate or assist users’ thinking procedure. • There should be a certain freedom for user to arrange chances. • • • •
The main point of curation is how to display things/matters to users and how not to insist on any interpretation to users. But critical point to understand the information should be presented. Accordingly, users can rather easily deal with information and can interpret information flexibly, freely and properly. And as we pointed out before, the merit of this type of curation is make visitors think themselves. And curation should be designed according to users level. That is visitors try to interpret/understand as many as possible, and they can understand more than what are shown in the captions. 2.5. Two types of curation are compared In the above, we showed two types curations. In one exhibition (Borghese), no information was given as explanation on captions. However the context/history of the art works can be obtained from the permanent collections. We could see the art works and think deeply. In the other exhibition (Suntory), two types of curation were presented in the same place. As we mentioned above, each line was insufficient as a single curation. If we see both curations (lines), the exhibition would be comleted. Anyway it was very new and suggesting curation. In addition, a work was observed from the different perspective. From the viewpoint of the chance discovery based curation and the second type of curation, captions seem to be presented according to users’ level. 3. Curation for museum visitors. In the previous section, we reviewed special curations in museums. From the curation without text information to the curation with full text information was reviewed. The Museo e Galleria Borghese’s curation is unique. Several Caravaggio’s works were exhibited in their original places. The other Caravaggio’s works (from outside) and Bacon’s works were exhibited between the permanent collections. As the curator was pointed out, “[t]his exhibition proposes a juxtaposition of Bacon and Caravaggio. It intends to offer visitors an opportunity for an aesthetic experience rather than an educational one.” In addition, visitors may understand artworks from the context of the museum. The Suntory museum’s curation is also very interesting and suggesting. Because an exhibition could be seen from the different perspective. In addition, the amount of information was quite different in both sections. In one section, no information was shown, on the other hand, in the other section, information was provided as many as possible (for us, too much). As a problem of caption, both are suggestive. We performed the experiment with captions with several levels of explanation. This strategy can be regarded as the middle way of Suntory’s curation. The information will be offered properly. Before the experiment, we will show our previous experiment by using captions with a shikake.
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3.1. Captions of artworks as shikake In museums, especially in art museum, there are several visitors only reading captions (short explanation displayed next to artwork in exhibition room) without seeing any artworks. Tadaki and Abe tried to add psychological triggers by adding some features to captions. The presence of change in how they see artwork was measured by time spent to see artworks, movement from caption to artwork, and participants’ impressions to each artworks and each captions [10]. We regarded a caption as a Shikake [8] which is aiming to make visitors see artwork, each caption already has a physical trigger. One of experiments, we offered four types of patterns of caption. These four patterns were (1) base condition: captions containing description, artist’s profile and professional description, (2) subjective condition: captions containing description, artist’s profile, professional description and subjective judgement, (3) question condition: captions containing description, artist’s profile and professional description and question and (4) conjunctive condition: captions containing description, artist’s profile and professional description, subjective judgement and question. The result was, for instance, the favourability rate (five-point scale) was higher in the question condition than in the subjective condition. By our experiment, we can suggest the possibility of a Shikake displayed in text as well as objects. In addition, in [11], we questioned “would people use different strategies to evaluate the painting for each abstract painting and representational painting?.” Our experiment was to control the description of captions. For instance, we hided the title of the abstract painting (Fig. 3) (Forˆet by Jean Fautrier (Fig. 2)). The painting would be rather difficult to understand or create story without the title. However, if the title (Forˆet (forest)) was given to the visitor (they could open the hidden title), one of them created a story “I found a fairy in a forest.” Thus a certain hint or guidance can support person to understand a difficult matters. However, it may also be regarded as a leading question. Therefore, such a hint should be properly offered. It should not offer too much information to visitors. Anyway, this type of a shikake will be able to support person’s understanding. Perhaps the hidden title is a type of shikake. Because participants cannot see the title easily. However if they are aware of the sliding cover (an arrow is drawn on the cover), they will slide the cover to see something (title). During unknowing the title, people will be in the mist and try to see the artwork in details to understand what is drawn. However after opening the title, new image related to the title will appear. This will be because first they try to understand the abstract painting without any hint. And they will already have a certain image of painting. This image with title will become a new and detailed image. Thus the title functions as a hint for the painting. And the title is not explicitly shown to the users. He/she should be aware the cover can be open by sliding it. This can also be regraded as the chance discovery based curation. This will not be the best way to see and understand an abstract work, but we think it will be one of good strategy as making peoples think themselves. 3.2. Curation by captions? In the previous sections, we reviewed two types of exhibition. One is the Museo e Galleria Borghese’s special exhibition. The other is the Suntory museum’s special exhibition. For the Museo e Galleria Borghese’s special exhibition, no information as explanations on captions were shown, but some visitors could read/obtain implicit information from the context of the museum. For the Suntory museum’s special exhibition, visitors could obtain full information as explanations on captions according to their selection. And they could go both lines. The order of line selection depend on their choice. Perhaps the order of selection will influence their appreciation, we think. The selection was not controlled by the museum. It was visitor’s choice. And we introduced our previous experiments. For one experiment, one of four types of information was given to participants. They could not select the question type and they could not experienced all question types. The result was, for instance, the favourability rate (five-point scale) was higher in the question condition than in the subjective condition. We did not give the different type of information to the same participants. If they received different type of information, their appreciations might be different. Of course it would change according to the order. For the other experiment, neither amounts nor type of information were different. The title was hidden, and it could be shown after participants’ activation. That is if they were aware of the sliding cover (an arrow is drawn on the cover), they would slide the cover to see something (title). This is not the problem of information in captions. The amount of information and the type of information in the captions will influence participants’ appreciation.
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Fig. 2. Forˆet by Jean Fautrier
Fig. 3. Caption with hidden title
3.3. Captions with several levels of explanation In the previous experiment, a title is hidden. Especially for an abstract painting if title is missing, it is very difficult guess what is drawn. When a title is given, new image will appear in participant’s brain. For the modern painting some artists do not add the title to works. Instead they add a title such as “no title.” Of course a title sometimes will disturb our thinking. Without a title, an images for the painting may sometimes be extended. For a description of a caption, in the Suntory museum’s curation, the amount of information quite different in each sections. we think that it would be be better that the suitable amount of information can be shown according to the visitor’s level.
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In this experiment, our question was how the description of caption would influence or help the visitor’s thinking. In the above experiment, only one pattern of caption was offered to one participant. In this experiment, all patterns of caption were offered to all participants. That is, all participants took the same experiment. We used a painting shown in Fig. 4. The experiment was conducted as a question on a paper. Since the artist will not be famous in Japan, we think, first no information was shown, then the information for the painting (title) was shown, at last, information of the artist was shown. On papers, a question was given as well, When participants finished their answer, the next paper with question was given. We prepared a question with three levels of information as follows2 ; 1. Please imagine and write the story occurring in the painting. 2. The title of this painting is “New Day,” please imagine and write the story occurring in the painting. If something are different from what you imagined in the previous question, please write them. ˇ c. She 3. The painter who drew this painting is a female painter living in Beograd in Selvia. Her name is Ivana Zivi´ was born in 1979 in Sarajevo. She drew this painting in 2018. Please imagine and write the story occurring in the painting. If something are different from what you imagined in the previous question, please write them.
Fig. 4. Experiment
That is, all participants answered the similar questions for three times. Information on the painting would increase as they proceeded the experiment. They took the same experiments. They were given time as long as they like. Time of one session (three answers) was from 30 min. to 45 min. One of the answer3 sets was: 1. Since she is ill or is confined in the house, she cannot go out of her house. She dreams to go out to the outside world and go out from the window in her mind. 2. The reason she could not go out of her house was not unavoidable but intentional. And she did not dream to go out of her house but did go out of her house. 2 Before the questions, questions about the user’s profile (How often do you go to (art) museums? etc.) were conducted. But in this paper, the answers to the questions were not in consideration. 3 Answer sets are translated from Japanese to English by the authors.
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3. She remembers her girlhood. She remember that since outside world was dangerous she wanted to go out of house but could not, and that she strongly dreamed that she could go out of house. Before shown the statement I think the painter drew current situation but after reading it I changed my mind to think that she drew in her reminiscence. The reason why she did not go out of house was the Yugoslav Wars? Another answer set was: 1. The girl has been confined in a dark room long time and did not feel inconvenient in her life. Suddenly she was driven by an impulse to open the window and tried to open the window. Then from the overhead light shined on her, and her body was floated up as if she were in the water. From the window, a soft scent of plants. She felt like be filled with the warm scent, and closed her eyes. But, actually the window did not open and no light shined on her. 2. In the early morning, she woke up and open the windows in her house which was her daily work. Outside of the window she could see the plants (green). Their scent covered her body and she felt as if the extremely strong scent were blue green light. It was a beginning of a new day and she slightly felt as if she floated up. 3. The girl is an artist who drew the artwork. On a certain day, when she opened the window, the scenery outside the window was coincide with the scenery of the day when the dispute was spelled the end. The cheerful feeling she felt at the time was recalled. The painting expressed the feeling. The other answer sets were almost the similar. Their common understandings are: 1. Phrases such as “the girl has been confined” and “she is floating” are appeared. Many participants mentioned that she was in water. In fact, from the last three years she has been working on series of paintings called “Rooms of Water.” Unlike the other painting, though this painting does not explicitly paint water, they felt a girl in water. Perhaps the painting shows a certain floating feeling. 2. Phrases such as “go to the new world” and “go out” are appeared. ˇ c was born in 1979 in Sarajevo (BIH)” is 3. Since in the artist’s introduction, such a description as “Ivana Zivi´ included, they tend to think the story in the painting from the context of the Yugoslavia conflict. Phrases such as “escape” is appeared. The participants seem to be able to gradually understand the artwork. Even such a representational painting, the level of understanding is gradually changing. For abstract paintings this type of caption functions more like the Jean Fautrier’s case. ˇ c was born in 1979 in Sarajevo,” it may be misunderstanding to read painting from the From the phrase “Ivana Zivi´ context of the Yugoslavia conflict. However, such a thinking can be allowed as a free appreciation. This type of information display system according to the cognitive level is very important. The gradually information displaying strategy can be regarded as a shikake. In addition, this shikake may automatically be selected according to users interest and knowledge in the future. 4. Conclusions For the caption writing, in the previous papers, we examined by using several types of captions [10, 11]. In the examination we also added several shikakes to captions in order to make visitors see and think themselves artworks. By our experiments, we can suggest the possibility of a shikake displayed in text as well as objects. In this paper, from the viewpoint of the chance discovery based curation, the gradual information display system is proposed. Especially, the following features of curation are highlighted. • However, such chances should rather easily be discovered and arranged according to the user’s interests and situations. This can be achieved for instance by affordance. • There should be a certain freedom for user to interpret a key person, matter, thing or event, which should only stimulate or assist users’ thinking procedure.
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By the experiment, participants could appreciate art works deeply. If the new information is added, new thinking or discovery will become possible. This is a gradual level information display system. That is, if the system knows about participants’ level (knowledge level), those who do not need the information can skip or lessen the description. This scheme also regarded as chance offering system. Participants can discover a chance from the descriptions and interpret more. The description can be changed to show, for instance on a wearable display, according to user’s interest, time and knowledge level in the future. By this technique, it will be able to make a tailor-made guidance system. References [1] Abe A. 2010. Curation in Chance Discovery, Proc. of ICDM2010 5th International Workshop on Chance Discovery, pp. 793–799 [2] Abe A. 2011. Curation and Communication in Chance Discovery, Proc. of IJCAI2011 6th International Workshop on Chance Discovery, pp. 3–8 [3] Abe A. 2012. Curation in Chance Discovery, in Ohsawa Y. and Abe A. eds.: Advances in Chance Discovery, SCI 423, pp. 1–18, Springer Verlag [4] Abe A. 2012. Cognitive Chance Discovery: from abduction to affordance, in Philosophy and Cognitive Science (Magnani L. and Li L. eds), SAPERE 2, pp. 155–172, Springer Verlag [5] Akiyama R. and Sugiyama K. 2004. Holistic Communication, Senden Kaigi (in Japanese). [6] American Association of Museums Curators Committee 2009. A code of ethics for curators, http://www.curcom.org/_pdf/code_ethics2009.pdf [7] Colvia A. 2009. Caravaggio Beckons to Bacon: The Beauty of Sorrow, in Caravaggio Bacon (Coliva A. and Peppiatt M. heds.), pp. 17–22 [8] Matsumura N. 2013. A Shikake as an Embodied Trigger for Behavior Change, Proc. of AAAI2013 Spring Symposium on Shikakelology, pp. 62–67 [9] Ohsawa Y. and McBurney P. eds. 2003. Chance Discovery, Springer Verlag [10] Tadaki K. and Abe A. 2017. Museum Visitors’ Behavioral Change Caused by Captions, Proc. of the 2nd. Int’l Workshop on Language Sense on Computer in IJCAI2017, pp. 53–58 [11] Tadaki K. and Abe A. 2018. The Influence of Story Writing Worksheets on Art Appreciation, Proc. of ICAROB2018, pp. 687–690
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Procedia Computer Science 00 (2019) 000–000 Procedia Computer Science 00 (2019) 000–000 Procedia Computer Science 159 (2019) 2335–2344
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23rd International Conference on Knowledge-Based and Intelligent Information & Engineering 23rd International Conference on Knowledge-Based Systems and Intelligent Information & Engineering Systems
Captions Captions with with Several Several Levels Levels of of Explanation Explanation b Akinori Abea,∗ a,∗, Kotone Tadakib Akinori Abe , Kotone Tadaki a
Faculty of Letters, Chiba University, 1-33 Yayoi-cho, ofInage-ku, Letters, Chiba 1-33 Yayoi-cho, Chiba University, 263-8522, Japan Inage-ku, Chiba 263-8522, Japan [email protected], [email protected] [email protected], [email protected] Graduate School of Humanities and Public Affairs, Chiba University, Graduate1-33 School of Humanities andChiba Public263-8522, Affairs, Chiba Yayoi-cho, Inage-ku, JapanUniversity, 1-33 Yayoi-cho, Inage-ku, Chiba 263-8522, Japan [email protected] [email protected] a Faculty
b b
Abstract Abstract For the art appreciation in museums, usually a certain information will be provided as a caption. The visitor usually read the For the art to appreciation museums, usually a certain willbebenecessary providedfor asordinal a caption. The understanding visitor usuallyartworks. read the description help his/herinunderstanding artworks. Thus, information such a help will person’s description to help his/her understanding artworks. Thus, such a help will be necessary for ordinal person’s understanding artworks. (Art) museums usually prepare such descriptions for general visitors. The quality and quantity of description sometimes influence (Art) usually such visitors. The quality and quantity of description sometimes influence the artmuseums appreciations. Inprepare the paper. wedescriptions will discussfor thegeneral effect of information in captions. Especially, we will discuss the amount of the art appreciations. paper.intelligent/cognitive we will discuss the effect of information captions. Especially, we will discuss the amount of information accordingIntothe visitor’s level. The discussion in will be conducted as curation. information according to visitor’s intelligent/cognitive level. The discussion will be conducted as curation. c 2019 ⃝ 2019 The The Authors. Author(s). Published Elsevier B.V. © Published byby Elsevier B.V. c 2019 ⃝ The Author(s). Published bythe Elsevier B.V. This is This is an an open open access access article article under under the CC CC BY-NC-ND BY-NC-ND license license (https://creativecommons.org/licenses/by-nc-nd/4.0/) (https://creativecommons.org/licenses/by-nc-nd/4.0/) This is an open access article under the BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) under responsibility of International. Peer-review of KES KESCC International. Peer-review under responsibility of KES International. Keywords: art appreciation; curation; the effect of information; chance discovery Keywords: art appreciation; curation; the effect of information; chance discovery
1. Introduction 1. Introduction For the art appreciation in museums, usually a certain information will be provided as a caption. Visitors usually For art appreciation in museums, usually a Thus, certain information be provided a caption. Visitors usually read thethe description to help his/her understanding. such a help willwill be necessary foras ordinal person’s understandread the description to help his/her understanding. Thus, such a help will be necessary for ordinal person’s understanding. Museums usually prepare such descriptions for general visitors. The problem for reading these captions is visitors ing. prepare descriptions for general visitors. The forFor reading these captions visitors will Museums not see theusually art works after such reading the descriptions to understand theproblem art works. the problems Tadakiisand Abe will not see the art works after reading the descriptions to understand the art works. For the problems Tadaki and Abea conducted several experiments[10, 11]. The experiments showed several interesting results. One of them was that conducted several experiments[10, 11]. The experiments showed several interesting results. One of them was that title sometimes influences visitor’s thinking In the experiment, title was hidden. But after reading the title, one of thea title sometimes influences thinking In the title. experiment, title was hidden. But after as reading the title, one of the participants added the newvisitor’s image according to the This phenomena can be regarded the effect of information. participants added the new image according to the title. This phenomena can be regarded as the effect of information. By reading the title, information included the title was obtained. The more result was that the favorability rate was By reading title, information included the title was obtained. more result wassee thatchapter the favorability rate was higher in thethe question condition than in the subjective condition (forThe more information, 3). Thus, accoring higher in the question condition than in the subjective condition (for more information, see chapter 3). Thus, accoring to the desctiption of captions, the status of the art appreciation might change. to the desctiption of captions, the status of the art appreciation might change. ∗ Akinori Abe. Tel.: +81-43-290-3577 c 2019 The Author(s). Published by Elsevier B.V. 1877-0509 ⃝ ∗ Akinori Abe. Tel.: +81-43-290-3577 c 2019 1877-0509 ⃝ The Author(s). Published by Elsevierlicense B.V. (https://creativecommons.org/licenses/by-nc-nd/4.0/) This is an open access under the CC BY-NC-ND 1877-0509 © 2019 Thearticle Authors. Published by Elsevier B.V. This is an open access article under the CC BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under responsibility of KES International. This is an open access article under the CC BY-NC-ND license (https://creativecommons.org/licenses/by-nc-nd/4.0/) Peer-review under of KES International. Peer-review underresponsibility responsibility of KES International. 10.1016/j.procs.2019.09.408
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In this paper. we will discuss the effect of information in captions. Especially, we will discuss the amount of information according to visitor’s intelligent/cognitive level. The discussion will be conducted as curation. 2. Curatiion Recently, in several situations, the word “curation” has been used. For instance, in the marketing strategies, for fashion shows, and for a DJ etc. This section reviews various types of curation. Actually curatorial task is usually used for tasks in (art) museum. In the previous papers we several times reviewed curation, so we introduce very typical curation which makes the visitors think themselves. 2.1. (General) curation There is at least a person who is responsible as a “curator” in (special) exhibitions, galleries, archives, or (art) museums. Their main task of curator is a curatorial task, which is multifaceted. Curator comes from a Latin word “cura” which means cure. Then originally it used for a person who take care of a cultural heritage. In the report by American Association of Museums Curators Committee (AAMCC) [6], they pointed out “curators are highly knowledgeable, experienced, or educated in a discipline relevant to the museum’s purpose or mission. Curatorial roles and responsibilities vary widely within the museum community and within the museum itself, and may also be fulfilled by staff members with other titles.” Then they showed the definition of curator as follows; • Remain current in the scholarly developments within their field(s); conduct original research and develop new scholarship that contributes to the advancement of the body of knowledge within their field(s) and within the museum profession as a whole. • Make recommendations for acquiring and deaccessioning objects in the museum collection. • Assume responsibility for the overall care and development of the collection, which may include artifacts, fine art, specimens, historic structures, and intellectual property. • Advocate for and participate in the formulation of institutional policies and procedures for the care of the collection that are based on accepted professional standards and best practices as defined by AAM, CurCom, and other relevant professional organizations. • Perform research to identify materials in the collection and to document their history. • Interpret the objects belonging or loaned to the museum. • Develop and organize exhibitions. • Contribute to programs and educational materials. • Advocate and provide for public use of the collection. • Develop or contribute to monographs, essays, research papers, and other products of original thought. • Represent their institution in the media, at public gatherings, and at professional conferences and seminars. • Remain current on all state, national, and international laws as they pertain to objects in the museum collection. In addition, AAMCC showed curatorial responsibilities as follows; A. B. C. D. E.
Research, Scholarship, and Integrity Interpretation Acquisition, Care, and Disposal Collection Access and Use Replication of Objects in the Collection
Thus curators have responsibilities for various aspects of exhibition activities. However, the most important activity will be a plan of exhibition. For that the above activities such as research, interpretation and acquisition are necessary. They should properly exhibit a truth which is result of their researches and interpretations. In addition, their researches and interpretations properly communicate to the visitors. In the following sections, however, we will introduce the curation example with implicit communication of curator’s researches and interpretations.
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The following sections show special and outstanding exhibitions as new type of curation. 2.2. Exhibition “Bacon and Caravaggio” An exhibition “Bacon and Caravaggio” was held in Museo e Galleria Borghese, Roma, Italy during October 2 2009 and January 24 2010. The display policy of this exhibition is rather different from the general special exhibition. First, the special exhibition was not separated from the space for permanent collections. Of course several Caravaggio’s works were exhibited in their original places. The other Caravaggio’s works and Bacon’s works were exhibited between the permanent collections. For this type exhibition, usually exhibition is educational and two painters are compared in various point, for instance days and society painters lived. Before arriving at the exhibition, my expectation was that it would be an exhibition to address the contrast between the drawing policies of Bacon and Caravaggio. Caravaggio usually painted a perfect body of human beings. On the other hand, Bacon usually painted a flesh of human beings most of parts are removed to express the essence of human existence. However, in the catalogue of the exhibition “Bacon and Caravaggio,” at first, Coliva wrote “This exhibition proposes a juxtaposition of Bacon and Caravaggio. It intends to offer visitors an opportunity for an aesthetic experience rather than an educational one... [7].” Then Coliva continued “An exhibition of generally conceived and prepared with a historicist mentality, but when it materializes, the simultaneous presence of the works — in the sense precisely of their hanging — opens up parallels and poses very complex and spontaneous questions, which may even be unexpected and not all stem exactly from questions initially posed by art-historical motives and theses. There are parallels that appear by themselves to the visitor’s sensibility and are not imposed by a theory of the curator. This is certainly one aspect of the vitality of exhibitions, which make the works live and in this are necessary for the works. The display itself, in the sense of the presentation of the works that appear in an exhibition —the spectacle of their being on display — creates trains of thought that are independent of the interpretations provided by art-historical scholarship. And since for a profound experience of understanding a work these ramifications sometimes are more surprising and significant than the achievements of a specialized scholarship in its own field of action, an art raised to the status of an enigma like Bacon’s seems to require the gamble of provoking these parallels. And since at the time, and again because of its qualitative greatness, Caravaggio’s art deserves a similar provocation, the juxtaposition thus satisfies a legitimate aesthetic desire. On the other hand, the juxtaposition is a modest and prudent solution, not so much for demonstrating, but for offering the attribute of “genius” — which the expressive common language attributes to the great artist of the past — opportunities to manifest itself. And the juxtaposition is induced by the Galleria Borghese itself, one of the most sensitive spaces with the simultaneous presence of genius.” Besides the importance in aesthetics and philosophy, we think the most important point is that “There are parallels that appear by themselves to the visitor’s sensibility and are not imposed by a theory of the curator.” That is, though actually a curator has a certain philosophy, he/she does not insist his/her philosophy but visitors will be able to discover additional meanings as well as the curator’s intended philosophy. This type of curation used to be rare, but recently the importance of this type of curation has been recognised. In fact the curation does not seem to make effort to make visitors understand what should be informed. Furthermore this type of curation reduces detailed explanations. However the merit of this type of curation is make visitors think themselves. That is, visitors will try to interpret/understand as many as possible, and they will be understand more than what are shown in the captions. 2.3. Exhibition “Information or Inspiration? Japanese aesthetics to enjoy with left side and right side of the brain” The exhibition “Information or Inspiration? Japanese aesthetics to enjoy with left side and right side of the brain” was held in Suntory Museum of Art, Tokyo, Japan, from April 27 to June 2, 2019. The concept of curation was described in the HP (https://www.suntory.co.jp/sma/exhibition/2019_2/index.html) as “[w]hen we encounter something beautiful, we usually experience two kinds of reactions. One may be moved by learning the background of the work or the artist, while the other one is an emotional excitement we feel for no apparent reason. Inspired by this duality, Oki Sato, chief designer and founder of nendo, proposes to enjoy this collection of Japanese art from
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two different perspectives; an informative way for the left side of the brain, and a more intuitive approach for the right side of the brain. In other words, this exhibition can be enjoyed twice. While you learn new things about Japanese aesthetics, you can also learn a little bit about yourself. So, do you prefer information or inspiration?” The exhibition has two entrances —black and white. The black line is for an inspiration, where the main reason for an “intuitive attraction” such as colour, details and structure is extracted and exhibited. There is completely no written information. On the other hand, the white line is for an information, where all information such as a historical context, technique, producer’s intentions are fully explained. First we took a black line and after that we took a white line. During the black line we could not fully understand, for instance, why such shapes appeared or why the art works exhibited as it was. When we went through the white line, we found too much explanations part of which we ignored. Because we have already known the explanations. In fact I could see a work from the different side and different way. For instance in the black line, a tool box was disassembled to several parts made of plastic which we could assemble. In the white line, we could see the tool box as it was. In a white line a tea cup was exhibited normally (from the front), while in a black line the tea cup could be seen from the bottom (Fig. 1). For the cup, information such as a historical context, technique, and producer’s intentions were fully explained. The name of the tea cup is “ripe persimmon (nŁ‘).” If we see it from the bottom, the reason for the name can be observed. Accordingly, the tea cup is observed from the bottom in the black line. However, if we take the black line first, some of us will not understand the direction. After when we take the white line, we will be able to understand the secret of naming. This type of curation is very unique, interesting and impressive.
Fig. 1. A display image of tea cup (from https://www.suntory.co.jp/sma/exhibition/2019_2/index.html)
It was very interesting curation. However for the white way, we felt too much information. we felt it was better to provide in a suitable level. However since the exhibition is for general visitors, it will be the best way to show as many information as possible. 2.4. Curation as Chance Discovery In [1], Abe proposed and defined a concept of curation in chance discovery1 . Though in various articles, the definition of a “chance” is described which was introduced by Ohsawa [9], I’d like to introduce it here again. In fact, it rather differs from the original definition in [9] to reflect the recent research interests. 1 In [2] and [3], I extended the definition of curation in chance discovery, which introduced a concept of holistic communication [5]. In this paper, we used the extended version of curation.
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A chance is rare, hidden, potential or novel event(s) / situation(s) that can be conceived either as a future opportunity or risk. Then “chance discovery” research is a type of research to establish methods, strategies, theories, and even activities to discover a chance. In addition, it aims at discovering human factors for chance discoveries. Accordingly a definition of curation in chance discovery is: Curation is a task to offer users opportunities to discover chances. Curation should be conducted with considering to offer implicit and potential possibilities. Chances should not be explicitly displayed to users. However, such chances should rather easily be discovered and arranged according to the user’s interests and situations. This can be achieved for instance by affordance. • There can be a certain holistic communication environment. This type of holistic communication might function as media to discover chance for novice users. • There should be a certain freedom for user to interpret a key person, matter, thing or event, which should only stimulate or assist users’ thinking procedure. • There should be a certain freedom for user to arrange chances. • • • •
The main point of curation is how to display things/matters to users and how not to insist on any interpretation to users. But critical point to understand the information should be presented. Accordingly, users can rather easily deal with information and can interpret information flexibly, freely and properly. And as we pointed out before, the merit of this type of curation is make visitors think themselves. And curation should be designed according to users level. That is visitors try to interpret/understand as many as possible, and they can understand more than what are shown in the captions. 2.5. Two types of curation are compared In the above, we showed two types curations. In one exhibition (Borghese), no information was given as explanation on captions. However the context/history of the art works can be obtained from the permanent collections. We could see the art works and think deeply. In the other exhibition (Suntory), two types of curation were presented in the same place. As we mentioned above, each line was insufficient as a single curation. If we see both curations (lines), the exhibition would be comleted. Anyway it was very new and suggesting curation. In addition, a work was observed from the different perspective. From the viewpoint of the chance discovery based curation and the second type of curation, captions seem to be presented according to users’ level. 3. Curation for museum visitors. In the previous section, we reviewed special curations in museums. From the curation without text information to the curation with full text information was reviewed. The Museo e Galleria Borghese’s curation is unique. Several Caravaggio’s works were exhibited in their original places. The other Caravaggio’s works (from outside) and Bacon’s works were exhibited between the permanent collections. As the curator was pointed out, “[t]his exhibition proposes a juxtaposition of Bacon and Caravaggio. It intends to offer visitors an opportunity for an aesthetic experience rather than an educational one.” In addition, visitors may understand artworks from the context of the museum. The Suntory museum’s curation is also very interesting and suggesting. Because an exhibition could be seen from the different perspective. In addition, the amount of information was quite different in both sections. In one section, no information was shown, on the other hand, in the other section, information was provided as many as possible (for us, too much). As a problem of caption, both are suggestive. We performed the experiment with captions with several levels of explanation. This strategy can be regarded as the middle way of Suntory’s curation. The information will be offered properly. Before the experiment, we will show our previous experiment by using captions with a shikake.
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3.1. Captions of artworks as shikake In museums, especially in art museum, there are several visitors only reading captions (short explanation displayed next to artwork in exhibition room) without seeing any artworks. Tadaki and Abe tried to add psychological triggers by adding some features to captions. The presence of change in how they see artwork was measured by time spent to see artworks, movement from caption to artwork, and participants’ impressions to each artworks and each captions [10]. We regarded a caption as a Shikake [8] which is aiming to make visitors see artwork, each caption already has a physical trigger. One of experiments, we offered four types of patterns of caption. These four patterns were (1) base condition: captions containing description, artist’s profile and professional description, (2) subjective condition: captions containing description, artist’s profile, professional description and subjective judgement, (3) question condition: captions containing description, artist’s profile and professional description and question and (4) conjunctive condition: captions containing description, artist’s profile and professional description, subjective judgement and question. The result was, for instance, the favourability rate (five-point scale) was higher in the question condition than in the subjective condition. By our experiment, we can suggest the possibility of a Shikake displayed in text as well as objects. In addition, in [11], we questioned “would people use different strategies to evaluate the painting for each abstract painting and representational painting?.” Our experiment was to control the description of captions. For instance, we hided the title of the abstract painting (Fig. 3) (Forˆet by Jean Fautrier (Fig. 2)). The painting would be rather difficult to understand or create story without the title. However, if the title (Forˆet (forest)) was given to the visitor (they could open the hidden title), one of them created a story “I found a fairy in a forest.” Thus a certain hint or guidance can support person to understand a difficult matters. However, it may also be regarded as a leading question. Therefore, such a hint should be properly offered. It should not offer too much information to visitors. Anyway, this type of a shikake will be able to support person’s understanding. Perhaps the hidden title is a type of shikake. Because participants cannot see the title easily. However if they are aware of the sliding cover (an arrow is drawn on the cover), they will slide the cover to see something (title). During unknowing the title, people will be in the mist and try to see the artwork in details to understand what is drawn. However after opening the title, new image related to the title will appear. This will be because first they try to understand the abstract painting without any hint. And they will already have a certain image of painting. This image with title will become a new and detailed image. Thus the title functions as a hint for the painting. And the title is not explicitly shown to the users. He/she should be aware the cover can be open by sliding it. This can also be regraded as the chance discovery based curation. This will not be the best way to see and understand an abstract work, but we think it will be one of good strategy as making peoples think themselves. 3.2. Curation by captions? In the previous sections, we reviewed two types of exhibition. One is the Museo e Galleria Borghese’s special exhibition. The other is the Suntory museum’s special exhibition. For the Museo e Galleria Borghese’s special exhibition, no information as explanations on captions were shown, but some visitors could read/obtain implicit information from the context of the museum. For the Suntory museum’s special exhibition, visitors could obtain full information as explanations on captions according to their selection. And they could go both lines. The order of line selection depend on their choice. Perhaps the order of selection will influence their appreciation, we think. The selection was not controlled by the museum. It was visitor’s choice. And we introduced our previous experiments. For one experiment, one of four types of information was given to participants. They could not select the question type and they could not experienced all question types. The result was, for instance, the favourability rate (five-point scale) was higher in the question condition than in the subjective condition. We did not give the different type of information to the same participants. If they received different type of information, their appreciations might be different. Of course it would change according to the order. For the other experiment, neither amounts nor type of information were different. The title was hidden, and it could be shown after participants’ activation. That is if they were aware of the sliding cover (an arrow is drawn on the cover), they would slide the cover to see something (title). This is not the problem of information in captions. The amount of information and the type of information in the captions will influence participants’ appreciation.
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Fig. 2. Forˆet by Jean Fautrier
Fig. 3. Caption with hidden title
3.3. Captions with several levels of explanation In the previous experiment, a title is hidden. Especially for an abstract painting if title is missing, it is very difficult guess what is drawn. When a title is given, new image will appear in participant’s brain. For the modern painting some artists do not add the title to works. Instead they add a title such as “no title.” Of course a title sometimes will disturb our thinking. Without a title, an images for the painting may sometimes be extended. For a description of a caption, in the Suntory museum’s curation, the amount of information quite different in each sections. we think that it would be be better that the suitable amount of information can be shown according to the visitor’s level.
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In this experiment, our question was how the description of caption would influence or help the visitor’s thinking. In the above experiment, only one pattern of caption was offered to one participant. In this experiment, all patterns of caption were offered to all participants. That is, all participants took the same experiment. We used a painting shown in Fig. 4. The experiment was conducted as a question on a paper. Since the artist will not be famous in Japan, we think, first no information was shown, then the information for the painting (title) was shown, at last, information of the artist was shown. On papers, a question was given as well, When participants finished their answer, the next paper with question was given. We prepared a question with three levels of information as follows2 ; 1. Please imagine and write the story occurring in the painting. 2. The title of this painting is “New Day,” please imagine and write the story occurring in the painting. If something are different from what you imagined in the previous question, please write them. ˇ c. She 3. The painter who drew this painting is a female painter living in Beograd in Selvia. Her name is Ivana Zivi´ was born in 1979 in Sarajevo. She drew this painting in 2018. Please imagine and write the story occurring in the painting. If something are different from what you imagined in the previous question, please write them.
Fig. 4. Experiment
That is, all participants answered the similar questions for three times. Information on the painting would increase as they proceeded the experiment. They took the same experiments. They were given time as long as they like. Time of one session (three answers) was from 30 min. to 45 min. One of the answer3 sets was: 1. Since she is ill or is confined in the house, she cannot go out of her house. She dreams to go out to the outside world and go out from the window in her mind. 2. The reason she could not go out of her house was not unavoidable but intentional. And she did not dream to go out of her house but did go out of her house. 2 Before the questions, questions about the user’s profile (How often do you go to (art) museums? etc.) were conducted. But in this paper, the answers to the questions were not in consideration. 3 Answer sets are translated from Japanese to English by the authors.
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3. She remembers her girlhood. She remember that since outside world was dangerous she wanted to go out of house but could not, and that she strongly dreamed that she could go out of house. Before shown the statement I think the painter drew current situation but after reading it I changed my mind to think that she drew in her reminiscence. The reason why she did not go out of house was the Yugoslav Wars? Another answer set was: 1. The girl has been confined in a dark room long time and did not feel inconvenient in her life. Suddenly she was driven by an impulse to open the window and tried to open the window. Then from the overhead light shined on her, and her body was floated up as if she were in the water. From the window, a soft scent of plants. She felt like be filled with the warm scent, and closed her eyes. But, actually the window did not open and no light shined on her. 2. In the early morning, she woke up and open the windows in her house which was her daily work. Outside of the window she could see the plants (green). Their scent covered her body and she felt as if the extremely strong scent were blue green light. It was a beginning of a new day and she slightly felt as if she floated up. 3. The girl is an artist who drew the artwork. On a certain day, when she opened the window, the scenery outside the window was coincide with the scenery of the day when the dispute was spelled the end. The cheerful feeling she felt at the time was recalled. The painting expressed the feeling. The other answer sets were almost the similar. Their common understandings are: 1. Phrases such as “the girl has been confined” and “she is floating” are appeared. Many participants mentioned that she was in water. In fact, from the last three years she has been working on series of paintings called “Rooms of Water.” Unlike the other painting, though this painting does not explicitly paint water, they felt a girl in water. Perhaps the painting shows a certain floating feeling. 2. Phrases such as “go to the new world” and “go out” are appeared. ˇ c was born in 1979 in Sarajevo (BIH)” is 3. Since in the artist’s introduction, such a description as “Ivana Zivi´ included, they tend to think the story in the painting from the context of the Yugoslavia conflict. Phrases such as “escape” is appeared. The participants seem to be able to gradually understand the artwork. Even such a representational painting, the level of understanding is gradually changing. For abstract paintings this type of caption functions more like the Jean Fautrier’s case. ˇ c was born in 1979 in Sarajevo,” it may be misunderstanding to read painting from the From the phrase “Ivana Zivi´ context of the Yugoslavia conflict. However, such a thinking can be allowed as a free appreciation. This type of information display system according to the cognitive level is very important. The gradually information displaying strategy can be regarded as a shikake. In addition, this shikake may automatically be selected according to users interest and knowledge in the future. 4. Conclusions For the caption writing, in the previous papers, we examined by using several types of captions [10, 11]. In the examination we also added several shikakes to captions in order to make visitors see and think themselves artworks. By our experiments, we can suggest the possibility of a shikake displayed in text as well as objects. In this paper, from the viewpoint of the chance discovery based curation, the gradual information display system is proposed. Especially, the following features of curation are highlighted. • However, such chances should rather easily be discovered and arranged according to the user’s interests and situations. This can be achieved for instance by affordance. • There should be a certain freedom for user to interpret a key person, matter, thing or event, which should only stimulate or assist users’ thinking procedure.
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Akinori Abe et al. / Procedia Computer Science 159 (2019) 2335–2344 Akinori Abe, Kotone Tadaki / Procedia Computer Science 00 (2019) 000–000
By the experiment, participants could appreciate art works deeply. If the new information is added, new thinking or discovery will become possible. This is a gradual level information display system. That is, if the system knows about participants’ level (knowledge level), those who do not need the information can skip or lessen the description. This scheme also regarded as chance offering system. Participants can discover a chance from the descriptions and interpret more. The description can be changed to show, for instance on a wearable display, according to user’s interest, time and knowledge level in the future. By this technique, it will be able to make a tailor-made guidance system. References [1] Abe A. 2010. Curation in Chance Discovery, Proc. of ICDM2010 5th International Workshop on Chance Discovery, pp. 793–799 [2] Abe A. 2011. Curation and Communication in Chance Discovery, Proc. of IJCAI2011 6th International Workshop on Chance Discovery, pp. 3–8 [3] Abe A. 2012. Curation in Chance Discovery, in Ohsawa Y. and Abe A. eds.: Advances in Chance Discovery, SCI 423, pp. 1–18, Springer Verlag [4] Abe A. 2012. Cognitive Chance Discovery: from abduction to affordance, in Philosophy and Cognitive Science (Magnani L. and Li L. eds), SAPERE 2, pp. 155–172, Springer Verlag [5] Akiyama R. and Sugiyama K. 2004. Holistic Communication, Senden Kaigi (in Japanese). [6] American Association of Museums Curators Committee 2009. A code of ethics for curators, http://www.curcom.org/_pdf/code_ethics2009.pdf [7] Colvia A. 2009. Caravaggio Beckons to Bacon: The Beauty of Sorrow, in Caravaggio Bacon (Coliva A. and Peppiatt M. heds.), pp. 17–22 [8] Matsumura N. 2013. A Shikake as an Embodied Trigger for Behavior Change, Proc. of AAAI2013 Spring Symposium on Shikakelology, pp. 62–67 [9] Ohsawa Y. and McBurney P. eds. 2003. Chance Discovery, Springer Verlag [10] Tadaki K. and Abe A. 2017. Museum Visitors’ Behavioral Change Caused by Captions, Proc. of the 2nd. Int’l Workshop on Language Sense on Computer in IJCAI2017, pp. 53–58 [11] Tadaki K. and Abe A. 2018. The Influence of Story Writing Worksheets on Art Appreciation, Proc. of ICAROB2018, pp. 687–690