Aesthetic Emotions Research Articles

Aesthetic emotions are a key factor in aesthetic evaluation: Reply to Skov and Nadal (2020).

Our theoretical model (Menninghaus et al., 2019) defines aesthetic emotions by reference to their role in aesthetic evaluation, and specifically as being predictive of aesthetic liking/disliking. Skov and Nadal (2020) dismiss the construct of "aesthetic emotions" as a "dated supposition" adopted from a "speculative" tradition and assert that there are no such emotions. Accordingly, they question all pieces of empirical evidence we referred to as supporting our model. In our response, we rebut these objections point by point and defend as well as expand the empirical evidence in support of our model. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Humanized Design Concept in Product Packaging Design

With the improvement of social progress and economic level, when people’s material level reaches a certain level of satisfaction, the pursuit of higher levels of spiritual enjoyment begins. The same is true of the need for packaging opening design, because it not only meets pure functionality, but also embodies the emotional value of the open process. Studying the humanized packaging design of children’s products to better protect children’s health and safety, meet the psychological needs of children and aesthetic emotions, improve the quality of children’s products, promote the sale of goods, and it is very important for the prosperity of the socialist market economy. important. This article uses the basic functions of children’s products packaging to explore the safety of children’s food and drug packaging and the convenience of children’s product packaging, so that the design is more humane; from the visual characteristics of children at different ages, the final experiment is to investigate the cartoon image. Use, interactive design of life situation, bionic design and fun design to meet children’s psychological needs and aesthetic emotions, so as to realize the humanized design of children’s products packaging. Experimental research shows that parents and students’ satisfaction with the humanized design of children’s product packaging has reached 98%.

Research on the application of neuroaesthetics in industrial design

People’s pursuit of aesthetic emotion is rising day by day, they pay attention to the practicality of products with a higher pursuit for the beauty of products. Industrial design takes the product design as core, the artistic decent expression is an indispensable link. The emergence of neuroaesthetics has laid a solid foundation for exploring the connection between individual nerves and product design. This paper introduces the history of industrial design, analyzes its development stages through comparison of different cases, and discusses the application principles of neuroaesthetics in industrial design.

How Does Knowledge About an Artist's Disability Change the Aesthetic Experience?

Based on concepts of cognitive mastering and the rewarding effect of making sense of challenging visual art (taken from a psychological model of aesthetic appreciation and aesthetic judgments of Leder et al., 2004), we hypothesised that viewers who have knowledge about an artist’s disability will appreciate their ambiguous works more than viewers who do not have such knowledge. Additionally, we aimed to explore how information about the artist’s disability changes the viewer’s aesthetic emotions. We investigated the effect of information on the creator’s visual disability on aesthetic experience in relation to three categories of visual art: photos, sculptures, and drawings. We showed digital reproductions of artworks (N = 32) produced by amateur artists with severe visual impairment to nonexperts in art (N = 145). Viewers assessed their aesthetic appreciation (understood as liking and value) and aesthetic emotions on the Self-Assessment Manikin scales for valence, arousal, dominance, origin, and significance. In accordance with our hypothesis, knowledge of the artists' disability had a positive influence on appreciation, but the effect of information was moderated by artwork category and was significant only in the case of sculptures and drawings (works created using these techniques were assessed in the preliminary study as more difficult to interpret than photos). A similar pattern of results was found for the dependent variables of arousal and significance. Therefore, the positive influence of information about the artists' disabilities on aesthetic experience is mainly revealed when the artworks are characterised by low detectability (defined as the difficulty in interpreting an artwork due to difficulty in recognizing what it depicts).

Product experiences of clothing attachment in baby boomers in the United States

Despite the importance of the baby boomer generation, there is relatively scarce research focused on that consumer group. Based on the framework of product experience, this study explores the experiences of older baby boomers associated with consumer-clothing attachment. The interpretive approach utilized in-depth interviews with 18 older baby boomers born between 1946 and 1955 to enquire about their experiences with attached clothing. Participants were asked to bring to the interview photographs of the clothing they had become more attached to. Findings indicate that the experiences of older baby boomers with attached clothing are mainly created, developed, and maintained via all three dimensions of product experience; aesthetic properties of the product, positive emotions triggered by the product, and the symbolic and instrumental meanings associated with the product. However, the aesthetic properties and positive emotions related to those products were bound to its assigned meanings. Meaning varied and was classified as associations with: identity or the belief that the object is a self-extension; memories or the connection with the past; social standing or sense of status; and strong associations with utility. For all participants, the stronger the experience of meaning with a specific product, the stronger the level of attachment towards that product. This qualitative investigation extends the understanding of the framework of product experience and the concept of consumer-clothing attachment. Contributions offer opportunities to marketers and designers who seek to better understand the experiences behind baby boomers’ clothing attachment.

Understanding aesthetic experiences in nature-based tourism: The important role of tourists’ literary associations

Abstract In nature-based tourism, the aesthetic experience is the core element, and contributes to tourist loyalty, but there is still a surprising paucity of empirical research specifically related to aesthetic experiences. An ‘aesthetic experience’ is used in this paper to refer to a subjective process in which individuals are sensually stimulated by aesthetic qualities, thereby generating cognitive judgements and aesthetic-related emotions. Stimuli-Organism-Response (S–O-R) theory is adopted in this research in order to understand ‘aesthetic experience’ and its impact on tourist loyalty. However, an aesthetic quality perceived with the senses produces only physical stimulation but not necessarily an aesthetic experience. Whether sensory stimulation can produce an experience actually depends on a tourist's literary knowledge of a ‘natural’ site. Therefore, this study attempts to integrate literary association in natural aesthetic experiences and to investigate its effect on tourist loyalty. The quantitative results show that aesthetic quality can influence aesthetic emotion through aesthetic judgement, and that literary association can significantly and positively moderate such an effect. Further, aesthetic quality directly and indirectly affects loyalty, and aesthetic judgement and emotion play a mediating role moderated by literary association regarding the effect of aesthetic quality on tourist loyalty.

Aesthetic Emotions Reconsidered

Abstract We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly.

Aesthetic Emotions

Abstract This paper investigates what I call aesthetic emotions in the “traditional” sense going back to Burke and Kant. According to Kant, aesthetic pleasure is disinterested, and so maybe for Kant aesthetic emotions would be too, for Kant, but emotions by their very nature cannot be disinterested. After dismissing the idea that aesthetic emotions are a special kind of distanced emotions or refined emotions, I extract from the writings of Clive Bell, Peter Kivy, and Peter Lamarque the view that aesthetic emotions are positive, pleasurable, consummatory emotions—emotions of appreciation—which are noninstrumental and which take as their intentional objects the intrinsic qualities of an artwork, more particularly, its formal interrelationships and the way that the overall formal structure of an artwork molds its content.

Experience, Emotion, and Aesthetics: Thinking About David Olson’s The Mind on Paper: Reading, Consciousness and Rationality

In this article I consider David Olson’s account of how literacy produces a new kind of consciousness, one in which a process of metacognition makes possible both knowledge and an understanding of language itself. This, he argues, enables readers and writers to reflect upon language, understand what constitutes reasoning, and recognize any logical flaws embedded in written texts. I then locate Olson within the cognitivist tradition of Jerome Bruner, critically analyzing Bruner’s concept of emotion as well as Olson’s account of experience. While he acknowledges the place of experience in John Dewey’s account of literacy, he tends to regard it as a form of consciousness rather than something more primordial. I go on to argue that experience, rather than consciousness, is a fundamental ingredient in the life of the mind and learning in general, where aesthetic emotions play a significant role. A theory of literacy that fails to take these elements into account is incomplete, however powerful it may appear. In order to make this argument, I utilize the work of John Dewey and Alfred North Whitehead, who afford experience and aesthetic emotions a primordial place in their process philosophies. I also contrast the organic concept of mind advocated by Whitehead and Dewey in their theory of learning with the mechanistic account Olson inherits from Bruner. Furthermore, I analyze the importance Whitehead ascribes to art education, and go on to show why he believes art to be the source of consciousness itself. Once again, this contrasts with Olson’s cognitivist account. I conclude that without experience and aesthetic emotion our capacity to reflect upon them through language would not be possible.

ВИДИ ПОЕТИЧНИХ ФІГУР (ШАБДАЛАНКАР) У ПОЕЗІЇ МІРИ БАЇ

This article addresses the issue of the types of poetic figures (shabdalankar) in the poetry of the famous poetess of the medieval socio-religious movement bhakti Mira Bai, namely, an important category of Hindi poetry – alankars, which help to express aesthetic emotion – racu. Therefore, their study is of great importance for characterizing the work of Mira Bai in general. Alankars are usually called rhetorical figures, and their close translation – "decorations" – corresponds to the most important European rhetorical category fully, which covers the concept of figures and paths ornatus. They adorn the sound and meaning of the word and help to show aesthetic emotion – racu. It was suggested to study the types of shabdalankar (form decorations) in the poetry of Mira Bai. It was reviewed such shabdalankars as anupras (alliteration), yamaka (lexical repetition – "consonance"), vacrocti and shlesha (some types of paronomasia – "combination"). It was found that in the verses of Mira Bai there are mainly two of them – anupras and vipsa. A feature of the formal side of Mira Bai's works is miserly use of poetry adornments, since the poetry's verses are a cry of the soul, they reflect the unbearable pain of separation from her beloved Krishna. In such a state of mind, Mira Bai was not up to artificial decoration and play on words. If individual alancars appear in her poetry, it happens completely at ease. Only one of several shabdalankar dominates in the verses of Mira Bai, namely: anuprasa, which helps the poetess through the melody of the verse to create the mood she needs and clearly show the aesthetic emotion of love – the shringar's racu.

“Being present” beyond the distance. Epistemological and educational issues in light of the pandemic crisis

This article reflects on epistemological and educational, as well as anthropological and ethical-political issues, concerning the pandemic crisis and the subsequent transformation of the places of education (from a real context to a more virtual context). It sheds light on the pedagogical-educational need to promote and embody (traditional and/or online) curricula, inspired by the humanism of beauty and characterized by a particular pedagogical style : the dimension of beauty , popular not only in the Greek world (the concept of kalos kai agathos and Platonic paideia ) but also in the Twentieth century ( the paideia of feeling by Maria Zambrano). The focus on aesthetic emotions, to increase the level of positive emotional involvement, which can be increased through educational technology, plays a crucial role in understanding the infinite and heterogeneous forms of humanity ( depth ontology ) and in facilitating learning. In all of this, there must be an assurance of pedagogical presence , not always synonymous with physical presence . In modern times there are various types of presence (for example, digital presence) and pedagogical knowledge is called upon to consider innovative heuristic directions, to ensure relationships, empathy, care and attention even in online educational encounters. Therefore, the teacher-educator is required to acquire specific professional skills, which are not only educational-methodological, digital, etc., but also and above all emotional-relational.

Aesthetic Revolution: The Role of Art in Culture and Social Change

Since the dawn of humanity, people have turned to art to transmit cultural ideas, values, and practices. At the same time, art has long challenged accepted cultural narratives that define the status quo. How is art both a form of culture and an engine of social change? Here we offer a theoretical framework that is animated by these questions. We first discuss how art embodies culture by representing, communicating, and ritualizing shared ideas, values, and practices. We then turn to how art catalyzes social change by means of three interrelated processes: distance, deviation, and aesthetic emotions like awe. Within the “free play of imagination” that art creates, people encounter ideas that challenge the status quo, and experience emotions that open them up to change. We conclude by connecting our framework’s processes to contextual moderators and highlight new areas of inquiry to increase momentum in this nascent field of study.

Attenzione ed esperienza estetica nella comunicazione didattica Indagini empirico-sperimentali condotte sul campo: principali risultati

The general objective of this experimentation concerns the study of the effect of the didactic intervention oriented towards the artistic experience, on the levels of attention and positive emotional involvement (aesthetic emotion) of the students belonging to the classes where the teachers thus formed work; this in comparison with parallel classes in which such innovative teaching is not yet applied and which therefore act as control classes. A platform has been developed for the teacher training, which has allowed the use of artistic materials (artistic videos and virtual museum visits of visual works) as integration and support of curricular contents. Moreover, illustrated books, art books, illustrated and interactive e-books, dedicated apps have been introduced in the school context. The volunteer teachers are involved in the 2019/2020 school year, in 4 primary school classes and 4 secondary school classes. Naturally, the respective control classes were also set up where regular didactic activity was carried out without specific training of the respective teachers, who will always be able to access in the following school year. This aesthetic enrichment of the teaching message has significantly favored the attentional processes and the positive emotional involvement of the learners, functional to learning.

Art-Experience and the Potential of Emotion in Education - A Study of Aesthetic Experience and Dynamic Emotion

Art-Experience and the Potential of Emotion in Education - A Study of Aesthetic Experience and Dynamic Emotion

Method for multi-criteria evaluation of urban parks

Urban parks have a positive impact on the environment of our cities and at the same time play an important social role by offering recreational opportunities for everyone. Urban parks provide comfortable environment for visitors to relax and exercise, evoke positive aesthetic emotions when contemplating picturesque landscapes, thus helping people build self-respect and develop pride in their city and uniting different social groups around the common goal of preserving green spaces. Urban park maintenance is an important part of the overall effort to ensure sustainable urban development. The aim of the study is to develop a method for multi-criteria evaluation of parks as a tool for monitoring and management of these objects.

EMOTIONAL ORIENTATION IN THE STRUCTURE OF FACILITATIVE ACTIVITY OF FUTURE PSYCHOLOGISTS

The article presents theoretical substantiation and empirical research of the development of emotional orientation in the structure of facilitation activities of future psychologists. The development of students-psychologists’ readiness for facilitative activities and related problemsd are actualized. In the context of facilitate support it is possible to provide the full development of future psychologists’ facilitative abilities: self-actualization, comprehension of life, internal motivation, reflexivity, self-esteem and self-understanding, authenticity, empathy, self-confidence, responsibility, the ability to accept, respect and understand others; the ability to create special conditions for personal development. The essential basis for psychologists-facilitators’ professional formation is their professional self-determination, which correlates with meanings of their personal self-determination. An individual’s emotional orientation is an indicator of future specialists’ value and general orientations. We analyzed B.I Dodonov’s approach, according to which individuals’ emotional orientations are determined by their need in emotional colouring of their actions, when individuals’ experiences pbtain self-sufficient values; and it expressed in individuals’ activities, motivates them and influences a professional choice and professional procedural moments. Our empirical study was based on B.I Dodonov’s classification of value emotions: altruistic emotions, communicative emotions, glorious emotions, praxic emotions, pugnantic emotions, romantic emotions, gnostic emotions, aesthetic emotions, hedonistic emotions, and acquisitive emotions. The empirical study of future psychologists’ emotional orientations shows that the studied students are mostly characterised by high altruistic, hedonistic, communicative and romantic emotional orientations. We can assume that these particular features of future psychologists’ emotional orientation correspond to the essence and structure of their facilitation activities and, in the future, they will help ensure their work effectiveness.

Higher emotions and cognition

The paper presents models describing higher emotions and cognition. It argues that contents of models at the top of the mental hierarchy are higher meanings, which in a simplified way could be called meanings of life. These models are vague-fuzzy and inaccessible to consciousness. Improving these models and making steps toward even tentatively conscious forms of them relates to the highest aesthetic emotions, emotions of the beautiful. Experimental data confirming these relations between the beautiful and higher meanings are presented.

How Highly Creative People Shape Their Creative Identity

Using a qualitative-exploratory study that spans over several years, we explain how highly creative chefs engage in aesthetic composing, which we define as the deliberate transforming of felt aesthetic stimuli in due consideration of advancing a creative identity. We induce how world-renowned Michelin starred chefs receive inspiration from aesthetic stimuli through their aesthetic sensibility and using their aesthetic knowing give meaning to these aesthetic stimuli. Our findings suggest that the phase of aesthetic sensibility initiates the phase of aesthetic composing that, in turn, can communicate back to the chef’s aesthetic sensibility. During aesthetic composing, chefs consider three reflection points: aesthetic emotion, aesthetic simplicity, and aesthetic harmony. These reflection points seem to be a salient ‘tool’ that is representative of the ability to shape a creative identity. By theorizing the aesthetic as an important dimension of creative work, we contribute to scholarly and practitioner knowledge around how creative identities are shaped.

The influence of the physical context and knowledge of artworks on the aesthetic experience of interactive installations

In the current study, the influence of the physical context and the knowledge of artworks on the aesthetic experience of installation art is tested for the first time. We assessed non-experts in the field of art (N = 158) who viewed interactive installations in either the art gallery context or the classroom. Some participants knew both the artworks’ titles and the curator descriptions, some knew only the titles, and some had no contextual information. We tested both the aesthetic emotions and the aesthetic judgments. For the measurement of aesthetic emotions, we used the Self-Assessment Manikin approach including the traditional dimensions of affect and the measurement of recently-proposed dimensions such as origin or subjective significance. The study replicated previous findings that the gallery context enhances the aesthetic experience – both of art appreciation and aesthetic emotions. Moreover, our results showed that the emotions caused by viewing the installation in the gallery had more of an automatic source (metaphorically coming “from the heart”) and were more subjectively significant than aesthetic emotions experienced in the classroom context. Curatorial information increased the understanding and appreciation of the works of installation art, and also caused the aesthetic emotion to be more positive and more intensive; while having knowledge about the titles did not influence the aesthetic experience.

A Model for Basic Emotions Using Observations of Behavior in Drosophila.

Emotion plays a crucial role, both in general human experience and in psychiatric illnesses. Despite the importance of emotion, the relative lack of objective methodologies to scientifically studying emotional phenomena limits our current understanding and thereby calls for the development of novel methodologies, such us the study of illustrative animal models. Analysis of Drosophila and other insects has unlocked new opportunities to elucidate the behavioral phenotypes of fundamentally emotional phenomena. Here we propose an integrative model of basic emotions based on observations of this animal model. The basic emotions are internal states that are modulated by neuromodulators, and these internal states are externally expressed as certain stereotypical behaviors, such as instinct, which is proposed as ancient mechanisms of survival. There are four kinds of basic emotions: happiness, sadness, fear, and anger, which are differentially associated with three core affects: reward (happiness), punishment (sadness), and stress (fear and anger). These core affects are analogous to the three primary colors (red, yellow, and blue) in that they are combined in various proportions to result in more complex “higher order” emotions, such as love and aesthetic emotion. We refer to our proposed model of emotions as called the “Three Primary Color Model of Basic Emotions.”