FROM THE UNIVERSAL TO THE PARTICULAR - EMOTIONAL RESPONSES TO PATTERN

Human beings it seems are “pattern searchers”, (Kraft,K.p276), we are constantly seeking the order and harmony that pattern provides and we use ‘it’ to make sense of the world.

This session will outline a recent pilot study that explored how we perceive surface patterns (ranging from ordered to disordered) in both a static and dynamic state and their impact on our senses. Specifically how pattern transforms sensory impulses through visual perception into emotional responses (the psychophysical).

Visual perception theories discussed at the start of the 20th C. by the Gestalt Psychology movement (a movement in experimental psychology) are still relevant today. Gestaltists believe that when we see we perceive our environment as organised patterns and forms rather than unorganised smaller parts and that our brain interprets our view by grouping elements together in order to make sense of them. These grouping theories of proximity, similarity, closure and simplicity have made an enormous contribution to our understanding of visual perception as they explain the relevance of groups to visual harmony.

Throughout our lives we are constantly exposed to pattern, but our awareness and therefore our responses to it varies from a conscious to subconscious level. Some patterns have the ability to grab our attention and make us take notice while others do not.

This pilot study is based on the theories of psychologist David Canter who explains how we respond to visual information in the form of pattern in what he calls our ‘arousal curve’. He argues that responses to pattern form a bell curve from non-engaging to over stimulating. This is significant as we look at the various functions of surface pattern:
 
• camouflage to disguise or blend in
• contrast to stand out, appear strong or confident
• decoration and ornamentation to attract, give pleasure or aesthetic satisfaction

There is a tendency in commercial pattern design to remain within the ‘comfort zone’ and this constant exposure to one area on the arousal curve may be having a numbing effect on our senses causing pattern to become almost meaningless in an emotional context and lack value in itself.

This pilot study identifies ways in which we can explore all areas on the arousal curve and examine what types of patterns are associated with disinterest or boredom, excitement, fear and overload. The emotional consequences of static and dynamic patterns and their potential uses will also be explored.

References

Canter,D.,(1974). Psychology for architects. UK. Applied Science Publishers Ltd.
Danet, B., “if you have a lot of clutter it messes up the popup”:The pursuit of good gestalts in online folk art. Textile. The journal of cloth and culture. vol 2.issue 3.
pp226-255. Nov 2004
Gombrich,E.H., (1984). The sense of order. 2nd ed. A study in the psychology of decorative art. London. Phaidon Press Ltd.
Hamlyn, D.W.,(1961). The psychology of perception. 2nd ed. London. Routledge & Keegan Paul Ltd.
Kraft, K., Textile patterns and their epistemological functions. Textile. The journal of cloth and culture. Vol 2. issue 3. pp274-289. Nov 2004
Jones, O.,(1986). The grammer of ornament. 2nd ed. London. Studio Editions.
Rodemann, P.,(1999). Patterns in interior environments. Perception, psychology,
and practice. USA. Wiley and sons.
Stevens, P.S., (1974). Patterns in nature. 1st ed. USA. Atlantic-Little.
Yanagi, S., (1972). The unknown craftsman. 1st ed. Japan. Kodansha International.