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Media Psychology

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Media Psychology

Monthly Archives: December 2018

New book reveals hidden details in world’s most famous paintings

31 Monday Dec 2018

Posted by Donna L. Roberts, PhD in Psychology

≈ Comments Off on New book reveals hidden details in world’s most famous paintings

The art secrets hiding in plain sight: Expert reveals the easy-to-miss details that are key to unlocking the meaning of some of the world’s most famous paintings (so did YOU spot them?)

  • Kelly Grovier’s book, A New Way of Seeing, examines the secrets hiding within famous works across time
  • Reveals an Easter egg hidden in Hieronymus Bosch’s famous The Garden of Earthly Delights from 1505-10
  • Also points out a tiny symbolic rabbit in J. M. W. Turner’s Rain Steam, and Speed – The Great Western Railway

Cultural critic Kelly Grovier, who was born in California but now lives in Ireland, has explored every element of 57 different works of art to discover their secrets for his seventh book.

Source: New book reveals hidden details in world’s most famous paintings

By KELLY GROVIER FOR THE MAILONLINE

A new book has revealed the crucial hidden details you have missed in some of the world’s most well-known paintings.

A New Way of Seeing: The History of Art in 57 Works hopes to change the way people view these incredible pieces forever through recognising their hidden meanings.

From Sandro Botticelli’s The Birth of Venus to Edvard Munch’s The Scream, the book helps guide viewers to seemingly innocuous details that are actually bursting with meaning. 

‘I wrote A New Way of Seeing because I wanted to understand what makes great art great,’ Kelly said. 

‘I sensed there were hidden mysteries and strange depths to the paintings and sculptures that we all know by heart but never really look at. I wanted to help readers reconnect with those masterpieces that have the power to enrich our experience of the world.’ 

Here, Kelly reveals the details you might have missed in some very recognisable paintings… 

Sandro Botticelli, The Birth of Venus 

Sandro Botticelli, The Birth of Venus, c. 1482-85, tempura on canvas, 172.5 x 278.9 cm: Kelly said: 'In Botticelli’s famous painting, Venus windsurfs to shore on a supersized scallop shell. Striking a pose, she gently tilts her head towards a curlicue of golden hair that has miraculously spun itself into a perfect logarithmic spiral on her right shoulder. Too precise to be an accident of brushwork, this seashell-shaped curl whispers sweet nothings in the ear of the goddess who listens intently'

Sandro Botticelli, The Birth of Venus, c. 1482-85, tempura on canvas, 172.5 x 278.9 cm: Kelly said: ‘In Botticelli’s famous painting, Venus windsurfs to shore on a supersized scallop shell. Striking a pose, she gently tilts her head towards a curlicue of golden hair that has miraculously spun itself into a perfect logarithmic spiral on her right shoulder. Too precise to be an accident of brushwork, this seashell-shaped curl whispers sweet nothings in the ear of the goddess who listens intently’

Kelly said: 'Since antiquity, this same spiral has mesmerised mathematicians as an intriguing twist of natural grace - observable in everything from flowers to cyclones, the swoop of raptors to the whorl of galaxies. It will eventually be christened Spira mirabilis ('the marvellous spiral') by a Swiss thinker, Jacob Bernoulli, at the end of the 17th century. And what, exactly, is the spiral murmuring to Venus in Botticelli’s masterpiece? Nothing much: just the secret to timeless beauty'

Kelly said: ‘Since antiquity, this same spiral has mesmerized mathematicians as an intriguing twist of natural grace – observable in everything from flowers to cyclones, the swoop of raptors to the whorl of galaxies. It will eventually be christened Spira mirabilis (‘the marvelous spiral’) by a Swiss thinker, Jacob Bernoulli, at the end of the 17th century. And what, exactly, is the spiral murmuring to Venus in Botticelli’s masterpiece? Nothing much: just the secret to timeless beauty’

J. M. W. Turner, Rain Steam, and Speed – The Great Western Railway 

J. M. W. Turner, Rain Steam, and Speed - The Great Western Railway, 1844, oil on canvas: Kelly said: 'Turner is famous for going big. Big skies. Big storms. Big ships. All painted with a big brush. But going big sometimes means going small. When Turner’s famous Rain, Steam, and Speed – The Great Western Railway was exhibited in 1844, a tragedy that occurred two and a half years earlier, on Christmas Eve in 1841, was still fresh in visitors’ minds'

J. M. W. Turner, Rain Steam, and Speed – The Great Western Railway, 1844, oil on canvas: Kelly said: ‘Turner is famous for going big. Big skies. Big storms. Big ships. All painted with a big brush. But going big sometimes means going small. When Turner’s famous Rain, Steam, and Speed – The Great Western Railway was exhibited in 1844, a tragedy that occurred two and a half years earlier, on Christmas Eve in 1841, was still fresh in visitors’ minds’

Kelly said: 'Ten miles from the bridge depicted in the painting, a train derailed and nine third-class commuters were killed and another sixteen disfigured. With a tender painterly touch, Turner pays tribute to the wrenching loss. Dashing out ahead of the locomotive is a deftly enunciated hare – since antiquity a symbol in art of rebirth and hope. The tiny hare, easily lost in the mire of shadow and tracks, alone rescues the work from being an abstract statement on the collision of technology and nature to something more intimate and heartfelt'

Kelly said: ‘Ten miles from the bridge depicted in the painting, a train derailed and nine third-class commuters were killed and another sixteen disfigured. With a tender painterly touch, Turner pays tribute to the wrenching loss. Dashing out ahead of the locomotive is a deftly enunciated hare – since antiquity a symbol in art of rebirth and hope. The tiny hare, easily lost in the mire of shadow and tracks, alone rescues the work from being an abstract statement on the collision of technology and nature to something more intimate and heartfelt’

Édouard Manet, A Bar at The Folies-Bergère 

Édouard Manet, A Bar at The Folies-Bergère, 1882: Kelly said: 'On either side of the barmaid in Édouard Manet’s famous depiction of a raucous cabaret in Paris, bottles of a British beer manufactured by the Bass Brewery call attention to themselves by the distinctive, red triangle printed on their label. The very first officially protected trademark in the United Kingdom, the Bass logo may seem a strange product placement in a proto-Impressionist masterpiece; yet it is key to unlocking the work’s meaning and poignant power'

Édouard Manet, A Bar at The Folies-Bergère, 1882: Kelly said: ‘On either side of the barmaid in Édouard Manet’s famous depiction of a raucous cabaret in Paris, bottles of a British beer manufactured by the Bass Brewery call attention to themselves by the distinctive, red triangle printed on their label. The very first officially protected trademark in the United Kingdom, the Bass logo may seem a strange product placement in a proto-Impressionist masterpiece; yet it is key to unlocking the work’s meaning and poignant power’

Kelly said: 'Seen in the context of the commercial label, the spray of roses across the barmaid’s cleavage, which takes the organic shape of a red triangle, marks her out as a product to be purchased and consumed – a woman to be bought and sold. The Folies-Bergère was well-known as a place where barmaid’s moonlighted as prostitutes. Suddenly, the shadowy man we see approaching her from the right in the mirror behind her is a trader in souls, and we, standing precisely where he is, are implicated in the transaction'

Kelly said: ‘Seen in the context of the commercial label, the spray of roses across the barmaid’s cleavage, which takes the organic shape of a red triangle, marks her out as a product to be purchased and consumed – a woman to be bought and sold. The Folies-Bergère was well-known as a place where barmaid’s moonlighted as prostitutes. Suddenly, the shadowy man we see approaching her from the right in the mirror behind her is a trader in souls, and we, standing precisely where he is, are implicated in the transaction’

Gustav Klimt, The Kiss 

Gustav Klimt, The Kiss, 1907, oil and gold leaf on canvas: Kelly said: 'Look closely at the woman’s resplendent frock in Gustav Klimt’s much-adored portrait of passion, The Kiss, and it appears decorated with round Petri-dish-like slides teeming with pulsing cells. In 1907, the year Klimt painted his iconic work, the air in Vienna was abuzz with talk of platelets and plasma, red blood cells and white'

Gustav Klimt, The Kiss, 1907, oil and gold leaf on canvas: Kelly said: ‘Look closely at the woman’s resplendent frock in Gustav Klimt’s much-adored portrait of passion, The Kiss, and it appears decorated with round Petri-dish-like slides teeming with pulsing cells. In 1907, the year Klimt painted his iconic work, the air in Vienna was abuzz with talk of platelets and plasma, red blood cells and white’

Kelly said: 'At the University of Vienna (where Klimt himself had been commissioned to create some paintings based on medical themes), Karl Landsteiner, a pioneering immunologist who was the first to distinguish blood groups, was busy investigating how to make blood transfusions work. Within each of the opulent ovoid slides that Klimt has stitched into the woman’s frock, vibrant platelets and agglutinating blood cells judder and throb, as if a microscopic glimpse into her cellular constitution has just been obtained – as if the artist has glimpsed a luminous biopsy of never-ending love'

Kelly said: ‘At the University of Vienna (where Klimt himself had been commissioned to create some paintings based on medical themes), Karl Landsteiner, a pioneering immunologist who was the first to distinguish blood groups, was busy investigating how to make blood transfusions work. Within each of the opulent ovoid slides that Klimt has stitched into the woman’s frock, vibrant platelets and agglutinating blood cells judder and throb, as if a microscopic glimpse into her cellular constitution has just been obtained – as if the artist has glimpsed a luminous biopsy of never-ending love’

Hieronymus Bosch, The Garden of Earthly Delights 

Hieronymus Bosch, The Garden of Earthly Delights (triptych open), 1505-10, oil on panel: Kelly said: 'To crack the code of Hieronymus Bosch’s famously cryptic vision of fleshly shenanigans, you must first find the Easter egg he’s hidden for us in his carnal garden. To locate it, all you have to do is draw a cross: imagine tracing a line down the very middle of the work vertically and one across its equator horizontally and, voilà, 'egg' marks the spot at the dead centre of the masterpiece'

Hieronymus Bosch, The Garden of Earthly Delights (triptych open), 1505-10, oil on panel: Kelly said: ‘To crack the code of Hieronymus Bosch’s famously cryptic vision of fleshly shenanigans, you must first find the Easter egg he’s hidden for us in his carnal garden. To locate it, all you have to do is draw a cross: imagine tracing a line down the very middle of the work vertically and one across its equator horizontally and, voilà, ‘egg’ marks the spot at the dead centre of the masterpiece’

Hoisted onto the head of a traveller, a breakable but, as yet, still unbroken eggshell stares back at us like a piercing pupil-less eye, reminding us how precarious the soul’s journey is through this world and the next. When Bosch’s triptych is closed, it reveals a cosmic depiction of the world floating in space: a ghostly egg we endlessly crack open every time we swing the work’s hinges wide

Hoisted onto the head of a traveller, a breakable but, as yet, still unbroken eggshell stares back at us like a piercing pupil-less eye, reminding us how precarious the soul’s journey is through this world and the next. When Bosch’s triptych is closed, it reveals a cosmic depiction of the world floating in space: a ghostly egg we endlessly crack open every time we swing the work’s hinges wide

Edvard Munch, The Scream 

Edvard Munch, The Scream, 1893, oil, tempera, pastel and crayon on cardboard: Kelly said: 'Edvard Munch’s 1893 portrait of a howling figure has become an archetype of existential angst and continues to hypnotise, like a flickering bulb swaying above us. Munch took an anxious interest in electricity and the technological advances of the day, and once confessed to his journal that he was haunted by a mysterious shape that 'directed the wires — and held the machinery in his hand'

Edvard Munch, The Scream, 1893, oil, tempera, pastel and crayon on cardboard: Kelly said: ‘Edvard Munch’s 1893 portrait of a howling figure has become an archetype of existential angst and continues to hypnotise, like a flickering bulb swaying above us. Munch took an anxious interest in electricity and the technological advances of the day, and once confessed to his journal that he was haunted by a mysterious shape that ‘directed the wires — and held the machinery in his hand’

Kelly said: 'One can only imagine how he reacted to the spectacle at the 1889 Exposition Universelle in Paris of 13,000 incandescent lamps arranged into the luminous shape of a gigantic light bulb. Like a bulging glass skull whose bulbous cranium tapers to an elongated jaw, the lamp towered above visitors. The shape appears to have seeped deep into Munch’s imagination. It flipped a switch. The yowling head that glows in The Scream echoes with uncanny precision the crystalline contours of Edison’s modern god'

Kelly said: ‘One can only imagine how he reacted to the spectacle at the 1889 Exposition Universelle in Paris of 13,000 incandescent lamps arranged into the luminous shape of a gigantic light bulb. Like a bulging glass skull whose bulbous cranium tapers to an elongated jaw, the lamp towered above visitors. The shape appears to have seeped deep into Munch’s imagination. It flipped a switch. The yowling head that glows in The Scream echoes with uncanny precision the crystalline contours of Edison’s modern god’

A New Way of Seeing: The History of Art in 57 Works by Kelly Grovier (Thames & Hudson)
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Best Christmas ads 2018: Watch Google’s amazing Home Alone Again and more

22 Saturday Dec 2018

Posted by Donna L. Roberts, PhD in Psychology

≈ Comments Off on Best Christmas ads 2018: Watch Google’s amazing Home Alone Again and more

Watch Macaulay Culkin revisit his glory days in the Google Home ad, plus many more excellent festive commercials.

Source: Best Christmas ads 2018: Watch Google’s amazing Home Alone Again and more

Rik Henderson    20 December 2018

We thought we’d seen the all the Christmas adverts this year already, with only a few days left until the big day itself. However, Google has arrived late to the party with what could be the best of them all.

Its Home Alone Again commercial, posted on YouTube, is quite simply brilliant. It brings Kevin McAllister (Macaulay Culkin) back for a modern retake on the classic Christmas movie – one of our favourites of all time.

You can watch it below, along with a selection of the best Christmas adverts that have appeared on UK TVs or online during the 2018 festive period.

Google: Home Alone Again

Imagine what Kevin McAllister’s Home Alone experience would have been like with a Google Home digital assistant.

It must also be said that Macaulay Culkin is looking great these days. Would be good to see him more active on TV or film in 2019.

John Lewis: The Boy and the Piano

You might be a bit sick of it by now, and it’s no patch on former years’ efforts, but the 2018 John Lewis Christmas ad is still one of the best around.

We’re not convinced many small kids will be getting pianos this year though.

Twitter: #NotARetailStore

While you can watch the actual John Lewis advert above, spare a moment for the real John Lewis who is regularly inundated on Twitter by confused customers.

Twitter brilliantly captured this in its own festive advert this year.

Waitrose: Fast Forward

Another great John Lewis spoof comes from one of the retailer’s own brand partners, Waitrose.

It apes a lot of family’s thoughts on the annual unveiling of the JL Christmas ad.

Aldi: Kevin the Carrot and the Wicked Parsnip

Aldi went all out with its Kevin the Carrot Christmas adverts this year, with several reimagined fairy tales featuring an evil parsnip.

This is our fave, not least for the punchline.

Sainsbury’s: The Big Night

Sainsbury’s went with the tried and trusted children’s Christmas play for its 2018 commercial.

Here, you can see a much longer version than the one aired on TV. We still like the bit with the plug.

Iceland: Say Hello to Rang-tan

You won’t have seen this Iceland advert on British TV this Christmas as it was banned for being too political.

However, it is a great commercial with a good message that’s well worth a watch.

Apple: Share your Gifts

To highlight the creative applications possible with Apple devices, it made a wonderfully animated short film about a girl afraid to show others her work.

The much longer version than shown on TV is available above.

McDonald’s: Reindeer Ready

As a follow up to last year’s McDonald’s ad, the 2018 version now features Santa treating his own herd to the fast food chain’s “Reindeer Treats”.

To be honest, they’d probably have preferred Big Macs.

Visa: Keep it Local this Christmas

Finally, another good message, this time from Visa.

With online shopping and Christmas deliveries being easier than ever, don’t forget the humble high street shop keeper who relies on your custom – especially at this time of year.

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Why You Love Glossy Things – Media Psychology

17 Monday Dec 2018

Posted by sergiodelbianco in Psychology

≈ 2 Comments

People’s taste for shiny stuff might be rooted in a very basic instinct. Image: Sports car via stephen rudolph / Shutterstock Source: An Evolutionary Theory For Why You Love Glossy Things BY ERIC JAFFE The evidence that people are drawn to shiny things is all around us: from the pages of lifestyle magazines to the […]

via An Evolutionary Theory For Why You Love Glossy Things — consumer psychology research

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End of the world: MIT prediction from 1973 is proving true

03 Monday Dec 2018

Posted by Donna L. Roberts, PhD in Psychology

≈ Comments Off on End of the world: MIT prediction from 1973 is proving true

An MIT model predicted when and how human civilization would end. Hint: it’s soon.

Credit: ABC.

Source: End of the world: MIT prediction from 1973 is proving true

by PAUL RATNER

In 1973, a computer program was developed at MIT to model global sustainability. Instead, it predicted that by 2040 our civilization would end. While many in history have made apocalyptic predictions that have so far failed to materialize, what the computer envisioned in the 1970s has by and large been coming true. Could the machine be right?

Why the program was created

The prediction, which recently re-appeared in Australian media, was made by a program dubbed World One. It was originally created by the computer pioneer Jay Forrester, who was commissioned by the Club of Rome to model how well the world could sustain its growth. The Club of Rome is an organization comprised of thinkers, former world heads of states, scientists, and UN bureaucrats with the mission to “promote understanding of the global challenges facing humanity and to propose solutions through scientific analysis, communication, and advocacy.”

The predictions

What World One showed was that by 2040 there would be a global collapse if the expansion of the population and industry was to continue at the current levels.

As reported by the Australian broadcaster ABC, the model’s calculations took into account trends in pollution levels, population growth, the amount of natural resources and the overall quality of life on Earth. The model’s predictions for the worsening quality of life and the dwindling natural resources have so far been unnervingly on target.

In fact, 2020 is the first milestone envisioned by World One. That’s when the quality of life is supposed to drop dramatically. The broadcaster presentedthis scenario that will lead to the demise of large numbers of people:

At around 2020, the condition of the planet becomes highly critical. If we do nothing about it, the quality of life goes down to zero. Pollution becomes so seriously it will start to kill people, which in turn will cause the population to diminish, lower than it was in the 1900. At this stage, around 2040 to 2050, civilised life as we know it on this planet will cease to exist.

Alexander King, the then-leader of the Club of Rome, evaluated the program’s results to also mean that nation-states will lose their sovereignty, forecasting a New World Order with corporations managing everything.

Sovereignty of nations is no longer absolute,” King told ABC. “There is a gradual diminishing of sovereignty, little bit by little bit. Even in the big nations, this will happen.

How did the program work?

World One, the computer program, looked at the world as one system. The report called it “an electronic guided tour of our behavior since 1900 and where that behavior will lead us.” The program produced graphs that showed what would happen to the planet decades into the future. It plotted statistics and forecasts for such variables as population, quality of life, the supply of natural resources, pollution, and more. Following the trend lines, one could see where the crises might take place.

Can we stave off disaster?

As one measure to prevent catastrophe, the Club of Rome predicted some nations like the U.S. would have to cut back on their appetites for gobbling up the world’s resources. It hoped that in the future world, prestige would stem from “low consumption”—one fact that has so far not materialized. Currently, nine in ten people around the world breathe air that has high levels of pollution, according to data from the World Health Organization (WHO). The agency estimates that 7 million deaths each year can be attributed to pollution.

Here, Parag Khanna gets into the specifics of what the world may be like in the near future, if we don’t change course:

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