Don't go with your gut: Exploring the role of motivation in aesthetic experiences.

2019 ◽  
Author(s):  
Christian C. Steciuch ◽  
Ryan D. Kopatich ◽  
Daniel P. Feller ◽  
Amanda M. Durik ◽  
Keith Millis
Keyword(s):  
Aesthetic Experiences

An Early Framework for a Cognitive Neuroscience of Visual Aesthetics

2021 ◽  
pp. 3-7
Author(s):  
Anjan Chatterjee
Keyword(s):  
Decision Making ◽  
Cognitive Psychology ◽  
Visual Processing ◽  
Motor System ◽  
Testing Hypotheses ◽  
Aesthetic Experiences ◽  
Cognitive Domains ◽  
Visual Aesthetics ◽  
The Rich

In the early 2000s, no framework within which to investigate the biology of aesthetics had been articulated. The author believes that a componential framework, as was common in cognitive psychology, applied to neuroaesthetics made sense. Such frameworks were commonly applied to complex cognitive domains, such as in language, emotion processing, or visual processing research. As such, the author proposes a “box and arrow” model which incorporated levels of visual processing, emotions, attention, and decision-making. The advantage of such a framework is that specific experiments could be placed in the context of testing hypotheses of parts of a larger system deployed for aesthetic processing. The framework has held up well over the years, although the author believes he did not sufficiently emphasize the role of the motor system and the rich contribution of semantics in aesthetic experiences.

scholarly journals The appropriation cycle: novice and expert consumers

2018 ◽  
Vol 52 (9/10) ◽  
pp. 1886-1908 ◽  
Author(s):  
Georgia Stavraki ◽  
Emmanuella Plakoyiannaki ◽  
Jackie Clarke
Keyword(s):  
Cultural Capital ◽  
Performing Arts ◽  
Aesthetic Experience ◽  
Current Knowledge ◽  
Single Case ◽  
Multiple Sources ◽  
Content Type ◽  
Aesthetic Experiences

Purpose Recognizing the value and limitations of current knowledge of the appropriation process in the consumption of aesthetic experiences, this research aims to generate a localized account for novice and expert consumers of the varying role of cultural capital in the appropriation cycles and interpretative responses of an aesthetic experience. Design/methodology/approach This research uses a single case study design of Miró’s blockbuster exhibition, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observations and archival records. Findings An evidence-based framework of the appropriation process for novice and expert consumers of aesthetic experiences is offered. This framework highlights the significance of appropriation pace and personal versus communal interpretations – amongst other features – in distinguishing distinct versions of the appropriation process in accordance with the varied accumulation of consumer cultural capital. Research limitations/implications The transferability of the findings to other aesthetic or experience-based consumption contexts such as performing arts or sports is discussed, alongside the relevance of the proposed framework for researchers of aesthetic experiences. Practical implications The empirical investigation of the understudied connection between visitors’ cultural capital and their museum experiences provides insights into curatorial and marketing practices in terms of broadening, diversifying and engaging museum audiences. Originality/value This research provides new theoretical insights into the literature of appropriation process and consumption of art experiences by bringing together consumers’ cultural capital with the appropriation process and interpretive responses to an aesthetic experience.

“Seeing the World with Fresh Eyes”

2017 ◽  
Vol 21 (1-2) ◽  
pp. 150-175
Author(s):  
David Seamon
Keyword(s):  
Aesthetic Experience ◽  
Emotional Engagement ◽  
Human Beings ◽  
Natural Attitude ◽  
Aesthetic Experiences ◽  
The World ◽  
Artistic Work ◽  
British Philosopher ◽  
Phenomenological Language

In this article, I draw on Gurdjieff’s philosophy to initiate a phenomenology of aesthetic experience, which I define as any intense emotional engagement that one feels in encountering or creating an artistic work, whether a painting, poem, song, dance, sculpture, or something else. To consider how aesthetic experience might be understood in a Gurdjieffian framework, I begin with an overview of phenomenology, emphasizing the phenomenological concepts of lifeworld and natural attitude, about which Gurdjieff said much, though not using phenomenological language. I then discuss Gurdjieff’s “psychology of human beings” as it might be interpreted phenomenologically, emphasizing three major claims: first, that, human beings are “asleep”; second, that they are “machines”; and, third, that they are “three-centered beings.” I draw on the last claim—human “three-centeredness”—to highlight how aesthetic experiences might be interpreted via Gurdjieff’s philosophy. Drawing on accounts from British philosopher and Gurdjieff associate J. G. Bennett, I end by considering how a Gurdjieffian perspective understands the role of the artistic work in contributing to aesthetic experience.

Dewey, Aesthetic Experience, and Education for Humanity

2019 ◽  
pp. 410-442
Author(s):  
Andrea English ◽  
Christine Doddington
Keyword(s):  
Global Education ◽  
Aesthetic Experience ◽  
Progressive Education ◽  
Philosophy Of Education ◽  
Formal Learning ◽  
Aesthetic Experiences ◽  
Theory Of Education ◽  
Outdoor Environments ◽  
Shared Humanity

Following from John Dewey’s notion that aesthetic experience is experience in its fullest sense, this chapter focuses on examining Dewey’s concept of aesthetic experience as it is inextricably tied to his concepts of human nature and education. It begins by exploring the concept of aesthetic experience in the context of Dewey’s broader theory of education and growth. The chapter then discusses how aesthetic experiences are cultivated in the context of formal learning settings, including classrooms and outdoor environments, paying special attention to the critical and indispensable role of the teacher in creating situations for students’ aesthetic experiences. In this context, the chapter discusses how Dewey’s critique of traditional and progressive education is still relevant in today’s global education climate. It concludes by discussing the crisis in education as the authors see it today and suggests that Dewey’s views provide three key insights for addressing this crisis: the value of teachers, the role of art as an ethical-political force, and the special place of philosophy of education in the cultivation of shared humanity.

scholarly journals NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE

2010 ◽  
Vol 42 (2) ◽  
pp. 230a-230a
Author(s):  
Kirsten Scheid
Keyword(s):  
Fine Art ◽  
Aesthetic Experiences ◽  
The Common ◽  
Modern Identity

In Beirut between 1920 and 1940, the fine-art nude was a necessary genre. Exhibitions of these pictures put audiences on display as much as nudes. Thus, these events enable probing the role of art at intercultural junctures and understanding the experience of self-modernizing subjects outside metropolitan locales. Al-ḥadātha and al-muʿāṣira are analyzed as complementary but noninterchangeable aspects of the modernizing project, to argue that viewing art and appreciating nudes were necessary components of an urban, modern identity for Mandate-era Beirutis. The concept of dislocation is introduced to explore why artists such as Moustapha Farroukh employed academic art formulae to intervene in representational conventions and, in doing so, dislocated common ways of seeing and relating to “Easterners.” Nude paintings evince the importance of intellectuals’ physical and aesthetic experiences in the production of modernity. Moreover, they complicate the common idea that “authenticity” opposed “modernity” in Arab and colonial settings.

Repetition Enhances the Musicality of Randomly Generated Tone Sequences

2016 ◽  
Vol 33 (4) ◽  
pp. 509-514 ◽  
Author(s):  
Elizabeth Hellmuth Margulis ◽  
Rhimmon Simchy-Gross
Keyword(s):  
Effect Size ◽  
Large Body ◽  
Test Phase ◽  
Exposure Phase ◽  
Music Training ◽  
Initial Exposure ◽  
Random Sequences ◽  
Aesthetic Experiences ◽  
Subsequent Test

This study investigated the role of repetition on listener response. It tested the hypothesis that repetition, in the form of looping during an exposure phase, would make random sequences of tones sound more musical when rated later during a test phase. In Experiment 1, participants without special music training rated the musicality of random sequences of tones on a Likert-like scale from 1 to 7. Experiment 2 used the highest and lowest rated sequences as stimuli. In an initial exposure phase, participants heard half these sequences presented six times in a loop, and half of them presented only once. In a subsequent test phase, they rated the musicality of each sequence. Sequences that had been repeated were rated as more musical, regardless of whether they had received a high or low musicality rating in Experiment 1, but the effect size was small. These results, although limited in some respects, support a large body of literature pointing to the importance of repetition in aesthetic experiences of music.

scholarly journals Ways of pointing to artworks: a Wittgensteinian approach = Formas de apuntar a las obras de arte: un enfoque wittgensteiniano

2019 ◽  
Vol 32 ◽  
pp. 23
Author(s):  
Salvador Rubio Marco
Keyword(s):  
Aesthetic Experiences ◽  
Alternative Approach ◽  
The Aesthetic ◽  
Main Criticism ◽  
In Virtue Of ◽  
Realist Concept ◽  
Do So

Abstract: The aim of P. Kivy’s recent De Gustibus: Arguing about Taste and Why We Do It (2015) is to answer to the very same question in terms of an emphasis on belief based on «phenomenological» (if not also ontological) «art-realism». Those who disagree on taste do so because they (explicitly or implicitly) see, in judgments relating to properties of artworks, the expression of beliefs, some of which are «true», and true in virtue of correctly reporting «facts» (non-aesthetic art-relevant facts, aesthetic art-relevant facts, or art value facts), and they try to convince others of what they think is «real» about art. Kivy follows the traces of this phenomenology of «beautiful» found in Hume’s work (and vs. Kant’s work). The main criticism is that it is actually possible to defend an alternative approach to understanding art in terms of «aspects» (an allegedly ‘anti-realist’ concept), so as to take account of rationality, disputes and the role of facts regarding judgments of taste. Kivy does not concede enough attention to the aesthetic experiences of seeing now what we were unable to see before (the «dawning» of an aspect), for example.Key words: Kivy, taste, phenomenology, belief, aesthetics, Wittgenstein.Resumen: El objetivo del reciente De Gustibus. Arguing about Taste and Why We Do It (2015), de P. Kivy es responder a la pregunta incluida en el título de su libro en términos de un énfasis en la creencia que se basa en un realismo en arte «fenomenológico» (si no también ontológico): quienes que disputan sobre «gusto» suelen hacerlo porque ellos (explícita o implícitamente) ven los juicios concernientes a las propiedades de las obras de arte como expresando creencias, algunas de las cuales son verdaderas, y verdaderas en virtud de reportar hechos correctamente (hechos no estéticos relevantes para el arte, hechos estéticos relevantes para el arte o hechos de valor artístico), y tratan de convencer a otros de lo que ellos piensan que es ‘real’ sobre el arte. Kivy sigue el rastro de esa fenomenología de ‘lo bello’ a partir de la obra de Hume (y contra la obra de Kant). Mi crítica principal es que es posible defender un enfoque alternativo de la comprensión del arte en términos de aspectos (un concepto supuestamente «antirrealista») a fin de tener en cuenta la racionalidad, las disputas y el papel de los hechos con respecto a los juicios de gusto. Kivy no presta suficiente atención a las experiencias estéticas de ver ahora lo que no podíamos ver antes (el «aparecer» de un aspecto), por ejemplo.Palabras claves: Kivy, gusto, fenomenología, creencia, estética, Wittgenstein.

Moving Through the Lit World: The Emergent Experience of Urban Paths

2017 ◽  
Vol 21 (4) ◽  
pp. 358-374 ◽  
Author(s):  
Shanti Sumartojo ◽  
Sarah Pink
Keyword(s):  
Everyday Experience ◽  
Urban Experience ◽  
Aesthetic Experiences ◽  
Sensory Ethnography ◽  
Affective Experiences ◽  
The City

There is growing scholarship both on how light (and darkness) shapes our perception and experience of our surroundings and coalesces particular affective experiences. In this article, we build on this emerging field to address a fundamental but unexplored question for understanding urban experience: how is the experience of everyday movement through the city constituted in relation to automated urban lighting. We argue that the affective and sensory aspects of the “lit world” need to be accounted for, an aspect of quotidian urban experience that remains underexplored. In doing so, we discuss a mobile sensory ethnography of public urban “light routes” by drawing on the words and photographs of people moving through the city of Melbourne, Australia on their journeys home at the end of the day. Their stories about automated lighting reveal how particular affective intensities, responses to urban complexity and aesthetic experiences emerged on the move, and begin to account for the role of the “lit world” in everyday experience.

The Role of Empirical Aesthetics in Consumer Behavior

2020 ◽  
Author(s):  
Vanessa M. Patrick ◽  
Henrik Hagtvedt
Keyword(s):  
Consumer Behavior ◽  
Emotional Response ◽  
Daily Life ◽  
Visual Features ◽  
Future Directions ◽  
Aesthetic Experiences ◽  
Aesthetic Appeal ◽  
Visual Concepts

This chapter provides an overview of the role of empirical aesthetics in the field of consumer behavior. It is developed around the idea that individuals have consumption-related aesthetic experiences in daily life, ranging from the products they use to the places and spaces they frequent. The chapter introduces the notion of everyday consumer aesthetics to capture this idea. The chapter begins with a discussion of the cognitive and emotional response that consumers have to visual features such as color, shape, and surface appeal, and visual concepts such as cuteness and anthropomorphism. Next, the outcomes of aesthetic appeal and a broad categorization of aesthetic products are presented. The chapter concludes with challenges and future directions for the study of consumer aesthetics.

The Role of Collative Variables in Aesthetic Experiences

2020 ◽  
Author(s):  
Manuela Marin
Keyword(s):  
Visual Arts ◽  
Theoretical Perspective ◽  
Aesthetic Response ◽  
Aesthetic Experiences ◽  
Aesthetic Responses ◽  
Experimental Aesthetics ◽  
Wide Range ◽  
Music Literature ◽  
Stimulus Features

Daniel Berlyne and his New Experimental Aesthetics have largely shaped the field since the 1970s by putting the study of collative variables related to stimulus features in the foreground, embedded in the context of motivation, arousal, and reward. Researchers from various fields have extensively studied the role of novelty, surprise, complexity, and ambiguity in aesthetic responses since then, employing a wide range of behavioral, computational, and neuroscientific methods. These studies have been conducted in different sensory and artistic domains, such as in music, literature, and the visual arts. The insights gained from these efforts are very promising from a broader theoretical perspective, and have opened up new avenues of research going beyond Berlyne’s psychobiological model of aesthetic response, leading to manifold applications in several practical fields.

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