MST 271 Aesthetics Test

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MST 271 Aesthetics Test
2010-10-07 01:31:15
media aesthetics

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  1. Deals with sense perception and how to influence them through fundamental image elements. Focuses on video, film, and other electronic audiovisual media.
    Applied Media Aesthetics
  2. What are the Five Fundamental Aesthetics Fields?
    • 1. Light/Color
    • 2. 2 dimensional space
    • 3. 3 dimensional space
    • 4. Time and Motion
    • 5. Sound
  3. Intentional exposure to information that conforms to and supports our perceived notions. Our tendency to see only such events details as we are interested in and or that seem to conform our perceptual expectations and prejudices.
    Selective Seeing
  4. An uncontrolled response to external stimuli
    Selective Perception
  5. We fill in the blank based on our culture <Conscious application of a code that dictates how we should feel and interpret what we see in relation to it context.>
    Associative Context
  6. Forces us to see stimuli in the same way regardless of cultural conditioning or our preconceived notions.
    Aesthetic Context
  7. Relationship of screen width to screen height.
    Aspect Ratio
  8. The technique for changing aspect ratio to show wide-screen material on the standard 4x3 video screen by leaving black borders called dead zones at the top and the bottom of the screen.
  9. Adapting a wide-screen presentation to normal television.
  10. An 4x3 image is digitally stretched to fit an 16x9 HDTV aspect ratio
  11. The perception of the actual size of an object regardless of the distance and the angle of view.
    Size Constancy
  12. Six major types of field forces
    • 1. Main Directions
    • 2. Magnetism of Frame
    • 3. Asymmetry of the Frame
    • 4. Figure & Ground
    • 5. Psychological Closure
    • 6. Vectors
  13. The borders of the screen exert an strong pull on objects in the frame. The closer the object is to the screen, the more powerful it is.
    Magnetism of the frame
  14. A precisely defined screen area that is seen as a figure against a ground. The more screen area the figure occupies, the heavier its graphic mass.
    Graphic Mass
  15. The right and left sides of the video, film, and computer screen are unequal in visual prominence. The right side commands more attention than the left.
    Asymmetry of the frame
  16. We organize an image field into a stable ground against which less stable figures operate.
    Figure Ground Principle
  17. We organize pictorial elements into patterns even if we only have minimal information.
    Psychological Closure
  18. A force with a direction and a magnitude.
  19. The space in front of the a person looking or pointing toward the edge of the screen.
  20. The space in front of the a person or object moving toward the edge of the screen.
  21. Is solid and stable.Usually relies on symmetry within the frame.
    Static Balance
  22. Asymmetrically distributed which increases the dynamic energy of the shot.
    Dynamic Balance
  23. Dividing the screen into three horizontal and three vertical fields. One way of composing balance in shots.
    Rule of Thirds
  24. What are the six major graphic depth factors?
    • 1. Overlapping planes
    • 2. Relative Size
    • 3. Height in Plane
    • 4. Linear Perspective
    • 5. Aerial Perspective
    • 6. Light and shadow
  25. An object partially covered by another.
    Overlapping Planes
  26. If you know how big an object is you can tell approx. where it is on the z-axis by its relative size.
    Relative Size
  27. we will perceive an object as being more and more distant the higher it moves up in the picture field until it has reached the horizon line.
    Height in Plane
  28. Involves parallel lines converging toward the distance at the vanishing point.
    Linear Perspective
  29. Objects that are close to us somewhat more sharply than those farther away.
    Aerial Perspective
  30. Area along the z-axis that appears in focus
    Depth of field
  31. Focusing on only a specific area along the z-axis
    Selective focus
  32. Changing focus from one location on the z-axis to another.
    Rack Focus
  33. The interplay of positive and negative volumes used to create the illusion of depth.
    Volume Duality
  34. Has substance. It can be touched and has a clearly described mass.
    Positive Volume
  35. Empty space that is somehow delineated by positive volumes.
    Negative Volume
  36. Placing people and their movements primarily along the z-axis toward and away from the camera
    Z-axis blocking
  37. Process in which an 3dim.lens generated screen image is rendered in a 2dim graphic or picture-like format.
  38. Moving from the general to the specific. Wide to small progression. Overview of the scene to event detail.
    Deductive Approach
  39. Moving from event detail to a general overview of the scene.
    Inductive Approach
  40. An visualization, that we try to assume as neutral and objective point of view.
    Looking at
  41. An visualization, when looking at an event we provide an deeper insight into whats going on.
    Looking Into
  42. The camera no longer just observes an event, but participants in it.
    Subjective Camera