Exploring sensory experiences while navigating Antioch mosaic space (Margery Chen, ARP.3)

Background

For over 1,500 years, a series of breathtaking mosaics quietly awaited excavators to uncover their past splendor in the ancient city of Antioch in 1932 (Kondoleon, 2000). Known for its geographical characteristics, political centrality, religious significance, and many unanswered questions, Antioch mesmerizes countless scholars and historians until today. One significant finding during the archeological excavations is the rediscovery of around three hundred Antioch mosaics pavements, drawing from a Hellenistic artistic tradition (Hopkins, 1948). The designs exhaust the use of geometric ribbons and frames, three-dimensional treatment of pictorial scenes and figures, and the visualization of imaginary spaces, all encapsulated within a two-dimensional floor to defy day-to-day visual perceptions. Their painting-like quality inevitably prompted the then-historians to display them on walls in museums, which, while giving the mosaics the visual recognition they deserve, eliminated their intended purpose to be viewed from above.

In recent years, multiple museums and art institutes have chosen to display the mosaic fragments on the ground, and some exhibits allow visitors to traverse the space in order to recreate the “dolce vita” experiences of ancient Antiochenes from prospective backgrounds (Barsanti, 2012). The images of the pavements are not unlike the popular visual illusory images that often appear in “what is your personality” tests. Indeed, presenting animated figures flat on the ground is an intriguing and deliberate artistic choice, determined by both the artisans and the longstanding tradition of installing mosaic pavements. Upon entering an ancient chamber, feasting scenes of gods and goddesses and gravity-defying animals and vegetation welcome the viewer into an otherworldly space that is filled with motions and dynamics, to which one might wonder: how, and why?

This study aims to approach this question through the lens of cognitive neuroscience. The objective is to first analyze viewer experience by traversing the Antioch mosaic pavements, and analyze quantitative and qualitative viewer experiences at three mosaic sites, each with a different type of visual illusion (geometric, scenaric, depthless). The second phase of the study will focus on drawing the association between the visuospatial sensations evoked during traversing and the significance of sensory transformation. The neurological sense of transformation, such as the feeling of entering an unrealistic space, will be connected to the metaphorical/spiritual transformation as typically seen in Graeco-Roman mythologies. Specifically, this study will perform a detailed comparison between sensory transformation and mythological transformation in Ovid’s Metamorphoses (8 CE), a collection of Latin narrative poems based on mythologies well-known at the time of Antioch mosaic production.

What Are Visual Illusions?

Many have attempted to define what visual illusions entail from the viewer’s perspective, among those are not just neuroscientists, but also psychologists, physicists, and philosophers. One of the first definitions was coined by German physiologist and philosopher Wilhelm Wundt, who believed that illusions from assemblies of geometric figures represent “errors in the apprehension of spatial extents, directions, and differences of directions” (Wundt, 1898).

As neuroscience became increasingly recognized as an independent academic field, the definition of the visual nervous system and the illusory factors of visuals are explained anatomically and mechanistically. In recent years, cognitive neuroscientists attempted to redefine the concept of illusion. Brian Rogers, formerly Professor of Experimental Psychology at the University of Oxford, urged a more fundamental question: “does it matter how the pattern of light reaching the eye is created?” (Rogers, 2010) He concluded that visual illusions are situations in which the eye is willingly led by the limited available information to misinterpret the physical situation. It is also important to keep in mind that sensory information is always limited to varied extents. As such, visual sensations are highly malleable, allowing spaces for mistakes, or, more poetically, fantastical interpretations of realities.

Neuropathology Behind Visual Illusions

All visual information from the external environment is entered and processed through the visual nervous system. Photons are captured by photoreceptors distributed across the retina. The visual information then propagates through the optic nerve to the lateral geniculate body of the thalamus. The main visual pathway eventually terminates in the primary visual cortex (V1) of the occipital lobe, the main processing center for visual elements. The processed information is used by other brain regions to generate informed executive functions, such that the host produces appropriate responses to what they see (Jangra & Grover, 2016).

In general, visual illusion provides an appearance that can be verified personally by the experiencer in its sensory domain to be different from the underlying reality inferred from its generic appearance (Tyler, 2022).

Antioch mosaic fragment comparisons

Three selections of Antioch mosaics were chosen to develop the hypothesis for the pilot study. They were studied based on the use of visual cues for depth perceptions and spatial orientation, two major pieces of information for spatial navigation. This study first postulates that disrupting spatial navigation leads to the disruption of the perception of the surroundings.

Mosaics with a variety of figures and the absence of concrete backgrounds seem to deploy most visual cues that allow us to accurately navigate through the surrounding spaces. Based on this conclusion, this paper hypothesizes that such mosaics will evoke the most visuospatial disorientation.

Significance

The significance of visual transformation lies in the inseparable relationship between sensory perception and the alteration in sensory states. Some common examples include remembering a certain time through listening to the music one commonly listened to during that period and creating shared topics with someone by loving the food from their cultural background. Similarly, uncommon visual perceptions can momentarily remove the viewer from their current surroundings to a desired space, whether it be realistic or fictional.

The concept of transformation that seems to be integral in Greco-Roman mythologies seems to relate to the transformation in visual perceptions to stimuli. This study examined Ovid’s Metamorphoses to interpret the notion of transformation and similar abilities, such as shapeshifting into other entities or objects. Often these transformations are depicted with extensive visual imagery, accompanying the sensory perceptions of the transforming characters, as evident in the story of Apollo and Daphne: “Father, help me! If your streams have heavenly power, change me! Destroy my beauty which has brought too much delight!” Scarcely has she made this plea, when she feels a heavy numbness move across her limbs, her soft breasts are enclosed by slender bark, her hair turns to leaves, her arms to branches, her feet, so swift a moment before, stick fast in sluggish roots, a covering of foliage spreads across her face. All that remains of her is her shining beauty.” (IX.552) The change in sensory perceptions is the manifestation of strong emotional contents in these mythological tales; thus, recreating the sensory perceptions for the audience would, to varied extents, transfer the experiences of metamorphosis.

Ovid treated the transformation in Metamorphoses with care and attention as, according to himself, it is the only constant in ubiquity: “there is nothing constant in the universe, all ebb and flow, and every shape that is born bears in its womb the seeds of change” (V.177) And as such, transformation in any sense is the thread that connects humans to plants, animals, and gods. To be able to act and feel in the shoes of other entities is a metaphorical shapeshifting power, therefore shortening the distance and barrier of species and supernaturality. By “shapeshifting” the viewer’s visual perception, Antioch mosaics transcend the spiritual borders and allow for intimate conversations between the viewer and the rest of the world. In terms, the Antioch mosaics chambers provide ancient Antiochenes and us with a space in real life to strengthen our connection and relevance to the world.

Methods

This pilot study designs a questionnaire that aims to summarize and analyze visitors’ sensory responses and interpretations of Antioch mosaics as they traverse three different patterns: Floor Mosaic with Bust of Apolausis (geometric and scenaric), Floor Mosaic with Trellis Pattern (geometric), and Floor Mosaic with Hunting Scenes (scenaric without depth; the most removal of visual cues). These mosaic pavements represent a gradient of pattern types, from purely geometric to occasionally geometric, then finally to non-geometric and without background. The questions investigated 1) viewer’s visuospatial perceptions under the transformative influence of mosaic, and 2) viewer’s changes in responses to the mosaics due to the above visual transformation. These questions are:

1.     On a scale of 1 to 5, how disoriented did you feel when walking on the mosaic?

2.     On a scale of 1 to 5, did the walking experience cause any discomfort?

3.     On a scale of 1 to 5, how dynamic are the mosaic images to you while walking?

4.     On a scale of 1 to 5, how was your mood affected by the walking experience?

5.     Please use one (1) to three (3) words to describe your overall visual experience while walking on the mosaic. (for example: 3D, depth, movement)

6.     Please use one (1) to three (3) words to describe your overall emotional experience while walking on the mosaic. (for example: nauseous, pleasant, relaxing)

Based on research with similar designs, this pilot study hypothesizes that highly geometric mosaic design, assimilating common textile and carpet, will cause pleasure and stability rather than visual disorientation. However, geometric designs with dense linings and complex shapes, such as Apolausis, will cause slight discomfort or mobile feeling. The Hunting Mosaic completely removes all visual cues for depth perception, therefore overwhelming the viewer with spiralling sensation and dynamical images of animals, transforming the viewer’s surrounding to a vivid hunting ground.

Conclusion

Based on data collection and analyses summarized in the poster, the pilot study concludes that:

1.     Purely geometrical design imitating textile on mosaic induces pleasant walking experience without distorting visuospatial effects.

2.     By altering visual cues for depth or removing the viewer from common visuospatial scenarios, Antioch mosaics without scenery or background induce mild visual disorientation, discomfort, and dynamic sensation overall.

3.     Hunting Scene Mosaic demonstrates most visual engagement with the viewer and has the potential to transform the viewer sensorily to fictional space.

These conclusions agree with the previous hypotheses to a large extent, given that they support that visuospatial distortion originates from the lack of visual cues. One notable “contradiction” in the investigation of mood change is the different notions of change in mood and mood intensity. Many Hunting Scene Mosaic viewers reported to have no mood change, yet they all used intense words to describe their viewing experiences, such as “tentative”, “disturbing”, and “exciting”. The change in mood should therefore only serve as a measurement for visuospatial perception’s effects on the overall sensory experience instead of that for the level of emotions felt during or after the walking experience.

Future Directions

This pilot study is filled with research potentials and limitations that can be addressed in future research projects. First, a more rigorous study of Greco-Roman mythology and belief systems should be conducted to produce a more empirical hypothesis for the significance of Antioch mosaics’ visual perception change induced in viewers. Moreover, more archaeological work should be done on the examination of Antioch mosaics and their relation to the surrounding spaces, such as the original walls and roof. The pilot study investigated museum visitors’ emotional reactions to the mosaics; interestingly, almost all visitors reported that they were “amazed”, “humbled”, and “mesmerized” by the fact that they could directly interact with ancient mosaic pavements. The emotional reactions specifically induced by the mosaics and their images seemed to be covered by the amazement of the display methods. Therefore, a future study can be conducted for individuals without prior knowledge that the pavements are ancient mosaics.

—Margery Chen

Cite as: Chen, Margery. “Exploration of sensory experiences during the navigation through Antioch mosaic space (Margery Chen, ARP.3)” Antioch Recovery Project [blog]. www.antiochrecoveryproject.org/space-sound-touch/exploration-of-sensory-experiences-during-the-navigation-through-antioch-mosaic-space-margery-chen-arp3

Bibliography:

1.     Barsanti, C., 2012. The Fate of the Antioch Mosaic Pavements: Some Reflections. Journal of Mosaic Research, (5):25-42.  https://dergipark.org.tr/tr/download/article-file/294061

2.     Dickson, G., Burtan, D., James, S., Philips, D., Stevanov, J., Heard, P., Leonards, U., 2021. Walking on Visual Illusions. I-Perception, (12):1. https://doi.org/10.1177/2041669520981101

3.     Hopkins, C., 1948. Antioch Mosaic Pavements. Journal of Near Eastern Studies, 7(2):91-97. http://www.jstor.org/stable/542673

4.     Jangra, K., & Grover, V.K., 2016. Chapter 40 - Postoperative Vision Loss. Complications in Neuroanesthesia, 395-409. https://doi.org/10.1016/B978-0-12-804075-1.00040-7

5.     Kondoleon, C., 2000. Mosaics of Antioch. Antioch - The Lost Ancient City, Princeton University Press in association with Worcester Art Museum. 63-206.

6.     Rogers, B., 2010. Stimuli, Information, and the Concept of Illusion. Perception, 39(3):285-288. https://doi.org/10.1068/p3903ed.

7.     Todovoric, D., 2020. What Are Visual Illusions? Perception, 49(11), 1128-1199. https://doi.org/10.1177/0301006620962279. 

Tyler, C.W., 2022. The Nature of Illusions: A New Synthesis Based on Verifiability. Frontiers in Human Neuroscience, (16).https://doi.org/10.3389/fnhum.2022.875829