Summary In the methodology of science, intersubjectivity is usually associated with replicability of experimental results. A related, judicial conception of objectivity as impartiality has it that a theory or judgment is objective if it covers all the relevant angles of the object or phenomenon in question, ensuring that the latter is not ephemeral and the concepts referring to them are valid. Based on the assumption that in the social sciences, the researcher is also a participant, an alternative view was conceived, (...) according to the notion that intersubjectivity rests on either sharing of a lifeworld and its associated practices or on empathy, or on some form of direct social cognition. My aim in this paper is to bring some elements of the Gestalt theory – and more specifically, Rudolf Arnheim’s (1988) adapted model of field dynamics – to bear on the problematic of intersubjectivity. The proposed model suggests that intersubjectivity is a dynamic phenomenon, best described as a product of two vectors: a vector describing a movement across the circumference combined with a vector describing the movement from the center to the circumference. While the first vector corresponds to impartiality, the second represents the tension between cognitive distancing and direct experience. Overall, it is argued that intersubjectivity cannot be divorced from either subjectivity or objectivity and it amounts to skillful navigation within different frames of reference. (shrink)

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of (...) mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast perceptual processing of an image, we also consider factors involved in the slower re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology. (shrink)