EMPHATIC ABSENCE : Investigating the emotional response to contrast, by means of chiaroscuro

Abstract: Personal preference to darkmospheres , light corners & generally high contrasted views and spaces, as well as a curiosity of investigating other opinions & responses, were the driving force for conducting this survey. Regarding my subjective perception and since, after all,  the matter of taste and subjectivity is quite strong in this kind of investigations, I’ve always found solace in environments that were staged with different segments of light and darkness; whenever I was in a room, I would immediately turn off the general lighting and turn on different and multiple other light sources, trying to combine atmospheres and, of course, keep some intact dark corners. And that was always a matter of arguing between myself and most of my acquaintances. Also, as an art lover, the absolute drawing technique of contrast, chiaroscuro, is also my favorite one. These characteristics of sharp shadows-strong contrasts and the theatrical, spotlight effect, can dramatically provoke feelings, but of which kind? What  is  the general perception and emotional response to high  contrasted environments & views? My belief, despite my personal taste, is that the effect of high contrast lighting environments is mainly associated with feelings that have a negative aesthetic tone, and thus, this significant design value is not used as much; Based on these assumptions, the purpose of this research is to investigate whether perceptions of contrasts in the lighting design of space are related to subjective preference ratings deriving from negative or uneasy feelings. A mixed approach of qualitative and quantitative findings, combining background research along with a survey was held, and, in general, it demonstrates a distinct correlation between levels of contrast as stimuli and feelings aroused. Although contrast does play a significant role in arousing strong feelings, by increasing and stimulating our perception, albeit we are probably negatively attracted to it. Given images of high contrasted –in terms of lighting quality- environments were associated mostly with feelings of anxiety and tension by the participants of the survey; thus, a  balance between coherence and valence factors and complexity/arousal feelings is a prerequisite, in order to positively approve a new environment. Contrast as a design value, is characterized by contrasting feelings and, that is its most powerful value;  it's an influential design tool and the essential force within the articulation of both style and communication. It, therefore, deserves a wider use and appreciation.