Normativity, Unity, and the Semiotics of Esthetic Experience in Peirce and Dewey

2004 ◽  
pp. 71-77
Author(s):  
Jason Barrett-Fox
Keyword(s):  
Esthetic Experience

scholarly journals The detail is more pleasant than the whole: Global and local prime affect esthetic appreciation of artworks showing whole-part ambiguity

2020 ◽  
Vol 82 (7) ◽  
pp. 3266-3272
Author(s):  
Maddalena Boccia ◽  
Paola Guariglia ◽  
Laura Piccardi ◽  
Giulia De Martino ◽  
Anna Maria Giannini
Keyword(s):  
Cognitive Processes ◽  
Pivotal Role ◽  
Individual Factors ◽  
Top Down ◽  
Bottom Up ◽  
Perceptual Style ◽  
Esthetic Judgment ◽  
Esthetic Experience ◽  
Global And Local

Abstract Esthetic experience is the result of the coordination of different cognitive processes. It has been widely reported that top-down processes of orienting of attention interact with bottom-up perceptual facilitation occurring during esthetic experience of artworks. Here we use whole-part ambiguity as a tool to test the effect of global and local prime on esthetic appreciation of complex visual artworks. To this aim 139 healthy young individuals completed an esthetic judgment of Arcimboldo’s ambiguous artworks, which were preceded by a local or global prime. Their perceptual style was also assessed using a Navon task. We found that local prime significantly enhanced esthetic appreciation of ambiguous portraits. Also, we found that prime level interacted with individual’s perceptual style: participants showing local perceptual style liked less ambiguous portraits when they were preceded by global prime. Overall, the present findings shed some light on the processes involved in esthetic experience, pointing towards a pivotal role of re-direction of attention towards perceptual features of the artworks and its interaction with individual factors, such as perceptual style.

Experience economy in ethnic cuisine: a case of Chengdu cuisine

2019 ◽  
Vol 122 (6) ◽  
pp. 1801-1817 ◽  
Author(s):  
Ivan K.W. Lai ◽  
Dong Lu ◽  
Yide Liu
Keyword(s):  
Structural Equation ◽  
Partial Least Square ◽  
Least Square ◽  
Equation Modeling ◽  
Experience Economy ◽  
Content Type ◽  
Four Dimensions ◽  
Tourist Satisfaction ◽  
Esthetic Experience ◽  
Practical Implications

Purpose The concept of experience economy states that customers seek experiences whether from products and services. Tourism is at the forefront of the experience economy because tourists are looking for staged experience encompassing the four realms (entertainment, educational, esthetic and escapism). The purpose of this paper is to empirically explore the effects of the experience economy on tourists’ word-of-mouth (WOM) in Chengdu cuisine through satisfaction and memory. Design/methodology/approach In total, 397 valid data were collected from the tourists who have experienced the ethnic cuisine in Chengdu. A partial least-square structural equation modeling technique was used to examine the research model. Findings The empirical results indicated that esthetic is the antecedent of the other three realms of experience economy; esthetic, educational and entertainment experiences influence satisfaction; four realms of experience economy influence memory; and satisfaction and memory ultimately influence WOM. Practical implications The findings of this study provide practical implications for operators of ethnic restaurants in designing their restaurants and menus, travel agencies in planning the tour itinerary and governments in using ethnic cuisine for destination marketing. Originality/value This study is a pioneer in studying the experience economy in the ethnic cuisine. It has identified the relationships between four dimensions of experience economy of ethnic cuisine, tourist satisfaction, memory and WOM toward ethnic cuisine in a tourist destination. It has also integrated the senses of Chinese cuisine (“sight,” “smell” and “taste”) into the measures of esthetic experience for studying experience economy in ethnic cuisine.

Esthetic experience and the creative life.

2015 ◽  
pp. 466-489
Author(s):  
Frank Seely Salisbury
Keyword(s):  
Esthetic Experience ◽  
Creative Life

A Definition of the Esthetic Experience

1937 ◽  
Vol 34 (23) ◽  
pp. 628
Author(s):  
Eliseo Vivas
Keyword(s):  
Definition Of ◽  
Esthetic Experience

Examining visitors’ experience with Batu Cave, using the four realm experiential theory

2017 ◽  
Vol 3 (2) ◽  
pp. 105-120 ◽  
Author(s):  
Ghazali Musa ◽  
Shahrul Najmin ◽  
Thinaranjeney Thirumoorthi ◽  
Azni Zarina Taha
Keyword(s):  
Qualitative Research ◽  
University Students ◽  
Research Work ◽  
Research Strategy ◽  
Tourism Industry ◽  
Kuala Lumpur ◽  
Content Type ◽  
Tourist Attractions ◽  
Esthetic Experience ◽  
Religious Site

Purpose City has a continuous need to diversify its products and services to ensure longer tourists’ stays and a profitable tourism industry. Kuala Lumpur is one of the most popular cities in the world, and within its vicinity, Batu Caves are not only an important Hindu religious site, but also a popular tourist attraction. Guided by the four realms of experience dimensions (Pine and Gilmore, 1998), the purpose of this paper is to analyze 54 essays written by university students, to examine the experience of their visit to Batu Caves. The findings confirmed the application of all the four realm dimensions – entertainment, educational, esthetic and escapist – revealing both positive and negative aspects of the experience. Batu Caves may capitalize on the positive experiences as pointers to create an effective marketing communication, while negative experiences are opportunities to devise appropriate corrective measures, and perhaps further develop tourism products and services that would appeal to the visitors’ experience. Design/methodology/approach This study employed a qualitative research strategy to examine visitors’ experiences at Batu Caves using the four realms of experience theory as coined by Pine and Gilmore (1998). A total of 54 undergrads were asked to describe their visit to Batu Caves (Lucia-Palacios et al., 2016) providing a complete insight of their opinions, feelings and perceptions (Jüttner et al., 2013) using the essay writing method. Findings The authors discovered firm evidence of the theory’s application, revealing the expected four experiential dimensions in explaining experience at a cultural religious site, extending the description to include its positive and negative aspects, all of which are useful for destination management. The study points out a lot of aspects that must be managed by the site, such as the poor esthetic experience (e.g. smell, rubbish, graffiti, etc.), controlling the animal aggression (i.e. monkeys) and perhaps develop new products and services which could enhance some experiences (e.g. cultural escapism through cultural performances in which visitors could participate). Research limitations/implications The main weakness of the research is perhaps the qualitative research work in which data were collected from essays written by the university students. Data of this nature prevent us from being able to generalize the findings and reflect on the experience to the general public. Practical implications Tourist stays in Kuala Lumpur could be enhanced by providing meaningful, deep and memorable experiences. Tourist attractions such as Batu Caves should continuously examine the experience that they provide to the visitors. Batu Caves’ management could continuously measure its tourists’ experience provisions, as tourists’ needs evolve over time. From the results they could revamp their products and services offering to ensure the sustainability of Batu Caves’ natural and cultural appeal among visitors and tourists alike. Originality/value The outcome provides a better understanding of the current tourism product and services at the destination that have an impact on a visitor’s experience. The findings will assist the Batu Caves’ management to revise and develop the products and service offerings to the visitors.

Self-Representation

Glimpse ◽  
2020 ◽  
Vol 21 ◽  
pp. 79-84
Author(s):  
Gabriela Farías Islas ◽  
Keyword(s):  
Visual Culture ◽  
Information Flow ◽  
Cognitive Process ◽  
Rapid Production ◽  
Mass Reproduction ◽  
The Media ◽  
Oxford Dictionary ◽  
Definition Of ◽  
Esthetic Experience ◽  
The Way

Self-imaging has become a ubiquitous part of global networking and selfies have an impact on visual culture and portraiture, since they challenge the aesthetics of self-representation. The differences between a self-portrait and a selfie are not solely in the manner they are produced but also in the way they are structured, distributed and acknowledged by society. A self-portrait is not the same as a selfie; there is a difference in their origin. The definition of a selfie, given by the Oxford dictionary, is a photograph that one has taken of oneself, typically one taken with a smartphone or webcam and shared via social media. While the definition of self-portrait is “a portrait of an artist produced or created by that artist.” The aim of this paper is to describe the way self-representation has changed in relation to the media, its distribution and consumption. In this case, the speed of the information flow does not allow for a long contemplation, the seduction of the selfie lies in the attraction towards the ephemeral and overexposed, the hyper realistic version of a person. The mass reproduction of objects, images included, is the trace of modernity; it has become a global cognitive process. Nevertheless, the postmodern legacy is the rapid production and disposal of stories and meaning. The selfie has served as an attempt to answer some questions about the changes within an esthetic experience, where time is important in order to discriminate diverse layers of significance.

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