Aesthetic Emotions Research Articles

The World as a Hospitable Space

In this study I intend to prove that there is a close connection between ethical purposes of Environmental Philosophy as World Philosophy and the idea of sacred nature as part of the “world” in a phenomenological sense, which includes sacred space as defined in the philosophy of religion. The main points that intersect here are: the idea of sacred space; the perception of virtue in a sacred world; the beauty of creation: nature, life, human sensibility. The theoretical background of this study contains points of view that express phenomenological, hermeneutic, theological, and aesthetic conceptions belonging to authors and exegetes such as Mircea Eliade, William E. Paden, David Cave, Ion Ianoși, Douglas Allen, Arnold Berleant, and Vincent Blok. I believe that the neglect of the environment-as-a-condition-of-life (the consequences of which can already be seen in ecological imbalances) is caused by, among other factors, the desacralization of human attitudes towards nature and the world of life. Few people still have a feeling of sacred nature or the aesthetic emotion of perceiving beauty in natural forms. The relationship with the environment and nature is reduced to its exploitation as a source of economic profit or as a way for spending free time, a source of personal comfort devoid of any spiritual significance. Surely we cannot go back to archaic religions or medieval Christianity, but we can reintegrate into our moral values something of those cultures’ admiration and respect for the beauty/sublimity of nature and the world as expressions of divine creation, as something sacred. Philosophical debates related to this retrieval and their dissemination could be part of solving the ecological problems of the contemporary world.

Product Development and Application of Chinese Traditional Art Derivatives in the Context of New Media

The relevance of the study lies in the fact that relying on the development of the modern media environment, the traditional culture of China can re-enter the vision and life of people against the background of a new era, and the excellent intangible cultural legacy will be continuously transmitted from generation to generation. Therefore, it is important to delve into the traditional techniques and artistic characteristics of products to properly use the unique elements and symbols of art derivatives, boldly combining them with the cultural background and features of the current era that are being introduced into people's daily lives. The purpose of the study is to analyse the role and importance of combinations of art derivatives in cultural and creative products and to consider their subsequent development in the environment of new media. The following techniques were used to achieve the purpose of the study: deduction, descriptive, and comparative methods. The results determined that by involving Chinese traditional art derivatives, it is possible to develop more diverse, innovative products in the context of modern mass media that consider the aesthetics and functionality of the product and allow satisfying aesthetic emotions and vital needs of modern people. Derivative arts follow from the concept of financial derivatives and refer to many extended services and products designed and manufactured in accordance with culture. Taking cultural elements as a creative basis, a profit-making model that uses its potential resources develops peripheral creations and then brings them to market for sale. The high added characteristics of cultural derivatives play a role in improving the cultural taste and cultural image of the country, acting as a true embodiment of the external appearance and inner spirit, historical and realistic culture. The practical importance lies in the use of the results and conclusions of the study in the development of products that include the traditions and legacy of the Chinese people.

Beauty in Psychology: A Bibliometric Analysis

The purpose of the study is to conduct a bibliometric analysis of psychological publications devoted to the phenomenon of beauty. The research material (2214 articles) was extracted from the Scopus bibliographic database. The VOSviewer and biblioshiny software tools were used to analyze the results and build a bibliometric map. The construction of a conceptual map made it possible to identify four clusters related to the study of beauty: (1) the bodily component of a person; (2) attractiveness; (3) aesthetic phenomena; and (4) sociocultural processes. Thematic clustering using the Walktrap algorithm identified four themes; with the theme with the highest density and centrality devoted to the study of attractiveness, in particular, physical attractiveness and facial attractiveness. Five countries (USA, UK, Germany, Canada, Australia) produced almost 3/4 of the total number of publications (74.2%). The contribution of Russian authors amounted to 17 articles (0.8%). Trend analysis shows that in recent years there has been a growing interest in social media, aesthetic emotions and values. It is concluded that the main phenomena that are associated with the concept of “beauty” and are studied in psychology are body image, attractiveness, physical attractiveness, facial attractiveness and aesthetics. The conducted analysis shows that beauty as a value, remaining an understudied category, is explored in the context of positive psychology.

Altar-ing aesthetic emotions: Exploring responses to ecologically valid beauty stimuli and their relationship to trait engagement with beauty.

Altar-ing aesthetic emotions: Exploring responses to ecologically valid beauty stimuli and their relationship to trait engagement with beauty.

The aesthetic emotional expression of piano music art in the background of Internet of things.

Artwork, generally refers to the work of plastic art. Artwork is divided into many categories, pottery art, traditional Chinese painting, abstract painting, musical instrument, sculpture, cultural relic sculpture, sandstone, imitation sandstone, ornaments, iron art, copper art, stainless steel sculpture and so on. With the continuous influx of artistic works, there are more and more studies on their emotional expression. How to judge whether musical works can bring joy, anger, sadness and joy to people? Is it joy over anger or anger over joy? Now in the era of the Internet of Things, the Internet of Things uses various information sensors, radio frequency identification technology, GPS, infrared sensors, laser scanners and other equipment and technologies to collect any objects and processes that need to be monitored, connected, and interacted in real time. By collecting various information such as sound, light, heat, electricity, mechanics, chemistry, biology, location and so on, and using various possible networks to connect, it can achieve intelligent perception, identification and management of objects and processes. The Internet of Things is an information carrier based on the Internet, traditional telecommunication networks and so on., so that all normal physical objects that can be individually located which can be connected together. The application field of the Internet of Things involves all aspects. The application in the fields of industry, agriculture, environment, transportation, logistics, security and other infrastructure has effectively promoted the intelligent development of these aspects, which making the limited resources more rational use and distribution, thus improving the efficiency and benefit of the industry. The application in household, medical and health, education, finance and service industry, tourism and other fields closely related to life has been greatly improved in terms of service scope, service method and service quality, which has greatly improved people’s quality of life. Based on this, this paper mainly studies the aesthetic emotion expression analysis of piano music art in the context of the Internet of Things. It mainly talks about the classification of music characteristics, emotional theoretical models, and emotional induction methods. Finally, the experimental analysis of piano music and the use of brain wave technology are used to analyze the experimental data. The experimental results show that in the process of feature extraction and optimization, this paper optimizes the traditional feature extraction based on power spectral density through cognitive rules, and achieves the effect of feature dimension reduction on the basis of ensuring the recognition rate. This paper uses the topological properties of EEG to classify emotions. The results show that the emotion recognition rate under the four emotional states can reach 67.3%, which is much higher than the current highest level.

Understanding the effect of art infusion type on retail product shopping: An attention to the intervening role of customers’ financial wealth

What type of art infusion contributes more to positive product evaluation? The purpose of this study was to investigate the interaction effect of art infusion type (abstract vs. figurative artwork) and consumers' financial wealth on the attitude toward retailing products via aesthetic emotion. To this end, the two hypotheses was developed drawing upon (a) information-processing stage model of aesthetic processing and (b) theory of cultural capital. An experiment (N = 500) was conducted to test the two hypotheses. The results of a moderated mediation analysis using process macro revealed that to high-income consumers, infusing abstract artwork provoked greater aesthetic emotion than infusing figurative artwork. Yet, to low-income consumers, infusing figurative artwork provoked greater aesthetic emotion than inserting abstract artwork. Further, product attitude served as a downstream consequence of aesthetic emotion. These findings enrich art infusion literature by presenting a new art infusion dimension (art infusion type), its boundary condition (consumers’ income level), and its consequence (product attitude). These findings also provide novel insights into how to leverage art infusion and consumer characteristics for product promotion.

The Cognitive Value of Aesthetic Emotions

Abstract Over the last two decades there have been considerable advancements in conceptual understanding and empirical findings on aesthetic emotions, one of the most popular topics in neurocognitive sciences and the scientific approaches to aesthetics. The paper proposes an empirical-theoretical review suggesting that aesthetic emotions have a strong cognitive potential in so far that they can enhance emotional intelligence. In particular, the review refers to the so-called ‘ability mental model’ of emotional intelligence and stresses evidence showing that aesthetic emotions can improve all the four dimensions of this model: perceiving emotions, using emotions to facilitate thought, understanding emotions, and self-regulating emotions.

Wonder, beauty, ability and the natural world: The experience of wonder as a positive aesthetic emotion in Old English verse

Drawing on the recent studies on aesthetic emotions and on their recent application to the field of the Old English aesthetic emotions, this paper explores one emotion from the emotion family of AMAZEMENT in the Old English poetic corpus, attending to the type of wonder that is typically triggered by objects of beauty, excellent manufacture and by the natural world. The purpose of this paper is to understand better the poetic usage of the Old English terms for wonder as well as evidence their role in literary and everyday contexts. Through a fine-grained analysis of the above domains, this paper has shown that the wonder implicit in these texts can be triggered by perceptual or cognitive appraisals, but also by a combination of both, highlighting the complexities and particularities of the early medieval English emotion of WONDER, as well as its similarity to other emotions like the EXPERIENCE OF BEAUTY or AWE.

The Aesthetic Implications of Fichte on Feeling

The article discusses the connection between art and emotion in Fichte’s work and its contemporary reception by the architect Karl Friedrich Schinkel. For the latter, not only selected architectural theoretical studies but also Schinkel’s ideal architectural designs are consulted. Schinkel knew Fichte personally and held him in high esteem. This is evidenced by some of Schinkel’s verbatim references to various forms of the Wissenschaftslehre and its sub-disciplines, as well as his extremely precise transcripts of lectures around the Berlin versions of the Wissenschaftslehre (around 1800). Schinkel was not only interested in the political and religious implications of Fichte’s theory of a cultural history of humankind, but his engagement with Fichte is also characterized above all by the theory of consciousness. This aspect plays a central role in the article. In recourse to the aesthetic emotion of the mind, a main concern of Fichte’s philosophy is to be placed in the horizon of architecture, which manifests itself in these questions: how does one convey a realisation in such a way that the recipient reconstructs it almost independently and it becomes a practical value for him as a criterion for his orientation in life? And furthermore – related to the research discourse on Fichte, which has only recently taken note of his aesthetic position and in particular his comments on architecture – how can this model of cognition be applied in his work from an architect’s point of view? In the investigation part on Fichte for this, first the feeling is reconstructed within the framework of the scientific-systematic philosophy as the reason of consciousness, in order to show with it the instance of the question relevant for Schinkel about the pedagogical effectiveness of a life-practical cultivating architecture. In the examination section on Schinkel, it is shown how Schinkel, in the horizon of Fichte, undertakes a determination of the relationship between feeling and ratio, with which he, for his part, establishes architecture as an instrument of cultivation.

Comparative Analysis of Aesthetic Emotion of Dance Movement: A Deep Learning Based Approach.

Dance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Viewers may form their own diversified and unique aesthetic characteristics. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Only through specific movements can the value and ideological connotation of works be expressed. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Experimentations are performed to systematically analyze the models from various perspectives. Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. The method proposes and effectively selects the best models among the five standard models based on key features and is, therefore, suitable in predicting the dancer's emotion and for the analysis of the dance movement in the future.

DREAM AND LOVE IN EDGAR ALLAN POE’S POEMS: A DREAM WITHIN A DREAM AND ANNABEL LEE

This paper studies Edgar Allan Poe's two poems; A Dream within a Dream and Annabel Lee, from a stylistic perspective. These two poems describe the desperation and hope to stay in love while they applied linguistic deviation as the medium to raise the aesthetical emotion. The aesthetical emotion within these two poems came after the linguistic level and style markers used within the poems. Therefore, this paper intended to uncover the meaning of those two poems from linguistic deviation and style markers used from the stylistic perspective. The data for this paper were collected from both poems and analysed with the qualitative description approach. This paper found that the linguistic deviation in these poems can express the aesthetic emotion the author intended to convey about the dream to love.

Promoting Emotional Durability and Sustainable Fashion Consumption through Art Derivatives Design Methods

This research clarifies the impact of aesthetic emotions on consumers’ emotional durability of fashion products. Four design methods of fashion art derivatives were proposed, and 24 samples were selected for testing. The experiment was conducted in China, testing the relationship between respondents’ preferences and aesthetic emotions. Results suggested that the direct participation of artists in design could gain the favour of more respondents. A significant correlation was found between the developed period of derivatives and respondents’ preferences. Derivatives that experience time precipitation may be more popular with respondents. Different design methods could affect the aesthetic emotions of the public. Artists’ participation can evoke better Pleasant–Excited emotion, while most of the emotions of art institute derivatives belong to the Pleasant–Calm range. The emotions evoked by respondents’ preferred samples were mainly in-depth emotions, which indicated that collaborative design could distinguish fashion derivatives from common fashion products and obtain longer lifespans.

The Neuroscience of Emotion Elicitation by Music

At the intersection of music and neuroscience, the auditory system plays a critical role in human responses. Initial reception of music stimuli is followed by auditory processing, allowing people to perceive, interpret, analyze, and understand these sounds. This article will review the main stages in this sensory reception and processing of music in the nervous system and how they result in emotional responses. To aid in understanding the processing of music, the article briefly addresses the origins of music and its role in human history. Of particular interest are the aesthetic emotions – the feelings that arise as one evaluates the beauty, novelty, expressiveness, etc. of the music as one listens. We also consider whether the processing of these emotions in the brain leads to the experience of pleasure and reward in a fashion similar to that of basic survival-related behaviors such as eating and drinking. Finally, we consider brain disorders affecting the perception, evaluation, and emotional response to music.

Problematic mobile phone use inhibits aesthetic emotion with nature: The roles of presence and openness

Problematic mobile phone use inhibits aesthetic emotion with nature: The roles of presence and openness

THE FUNCTION OF LITERATURE IN ACCORDANCE WITH THE THEORIES OF THE ART OF L.N. TOLSTOY AND I. A. RICHARDS

The function of art is one of the most discussed and curious topics throughout history. Many art critics and theorists have put forward various thesis on this subject, some of which have been accepted and some rejected. As a result of all these ideas, the main tasks of art are mainly focused on: the function of educating and the function of giving pleasure. Although the analysis of Tolstoy and Richards' theories on art was analized separately, there is no research of these theorists separately or together comparatively. Therefore, since this is the first time this topic will be analised in this way, it is important especially in the field of literature. The aim of the subject is to research comparatively the theories of two important and well-known names from different cultures that put signature under the important ideas in the field of art and literature and to determine the different aspects and points of intersection of both theories. Two thinkers, one of whom was from Russian literature and the other from English literature, had various theories on the function of art. Tolstoy saw art as a tool for guiding society, but Richards saw its function as a way to give pleasure and evoke aesthetic emotion. In order to see better the details, comparisons, similar and different aspects of Tolstoy’s and Richards’ views, in this study the analysis is carried out step by step. Keywords: Art, Education, Aesthetics, Function.

Visual Poetry and Real Context Situations in Mathematical Problem Posing and Solving: A Study of the Affective Impact

Affective aspects are key mediators in the learning process. Whereas some of them can be associated with a certain discipline, others are situational and connected with specific activities that trigger positive emotions. This study analyzes these affective aspects based on two ways of approaching mathematical problems: problem posing and problem solving. In both cases, the starting point will be situations presented in multimodal representation, but with three different mediating elements: a real situation close to the students’ reality (text with data and image), a real situation far from the students’ reality (text with data and image), and a visual poem (hybrid text with implicit mathematical content that generates critical reading and provokes an aesthetic emotion). The aim is to explore the extent to which the mediating elements have affective and performance implications. To this end, an investigation was designed with future primary school teachers. As will be shown, the results, both in terms of performance and affective factors, are different for problem posing and problem solving. Problem posing based on a visual poem is a stimulating challenge for future teachers. However, in problem solving, as this study shows, the problem posed in a remote real situation is more successful in both performance and affective aspects.

Looking at life through rose-colored glasses: Dispositional positive affect is related to the intensity of aesthetic experiences

ABSTRACT Individuals with a tendency to experience more positive affect have been shown to preferentially attend to positive stimuli. Anecdotal evidence even holds that individuals perceive more beauty when positive affect prevails. In two studies, we investigated the role of dispositional affect in predicting the frequency and intensity of aesthetic experiences. In Study 1, we examined experience sampling method (ESM) data on 99 students’ aesthetic experiences. In Study 2, we used an intensive ESM investigation over the course of two weeks to collect data on aesthetic emotions (N = 97), and then associated the ESM data with dispositional affect questionnaires. The results of both studies showed a positive association between dispositional positive affect and the intensity of aesthetic experiences. However, dispositional affect and the frequency of aesthetic experiences were found to be unrelated. These findings suggest that dispositional affect does not predict how much beauty we see, but rather how much we enjoy it.

A Special Class of Experience: Positive Affect Evoked by Music and the Arts.

A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. What do these positive experiences feel like, beyond ‘positive’? How are loved works that evoke profoundly negative emotions explained? To address these questions, two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and communicable emotions with a reasonably well-established lexicon. PACE relates to a more private world of prototypical aesthetic emotions and experiences investigated in positive psychology. After a review of the literature, this paper proposes that PACE consists of physical correlates (tears, racing heart…) and varied amounts of ‘hedonic tone’ (HT), which range from shallow, personal leanings (preference, liking, attraction, etc.) to deep ones that include awe, being-moved, thrills, and wonder. PACE is a separate, simultaneously activated class of experience to ECE. The approach resolves long-standing debates about powerful, positive experiences taking place during negative emotion evocation by music/art. A list of possible terms for describing PACE is proposed.

The CODA Model: A Review and Skeptical Extension of the Constructionist Model of Emotional Episodes Induced by Music.

This paper discusses contemporary advancements in the affective sciences (described together as skeptical theories) that can inform the music-emotion literature. Key concepts in these theories are outlined, highlighting their points of agreement and disagreement. This summary shows the importance of appraisal within the emotion process, provides a greater emphasis upon goal-directed accounts of (emotion) behavior, and a need to move away from discrete emotion “folk” concepts and toward the study of an emotional episode and its components. Consequently, three contemporary music emotion theories (BRECVEMA, Multifactorial Process Approach, and a Constructionist Account) are examined through a skeptical lens. This critique highlights the over-reliance upon categorization and a lack of acknowledgment of appraisal processes, specifically goal-directed appraisal, in examining how individual experiences of music emerge in different contexts. Based on this critique of current music-emotion models, we present our skeptically informed CODA model - Constructivistly-Organised Dimensional-Appraisal model. This model addresses skeptical limitations of existing theories, reinstates the role of goal-directed appraisal as central to what makes music relevant and meaningful to an individual in different contexts and brings together different theoretical frameworks into a single model. From the development of the CODA model, several hypotheses are proposed and applied to musical contexts. These hypotheses address theoretical issues such as acknowledging individual and contextual differences in emotional intensity and valence, as well as differentiating between induced and perceived emotions, and utilitarian and aesthetic emotions. We conclude with a sections of recommendations for future research. Altogether, this theoretical critique and proposed model points toward a positive future direction for music-emotion science. One where researchers can take forward testable predictions about what makes music relevant and meaningful to an individual.

Aesthetics of Hui Folk Dance as Audience Service to Leverage Audience Satisfaction

Hui folk dance has its unique charm as an indispensable part of Chinese folk dance. It reflects the customs and cultural characteristics of the Hui nationality. This article explores the historical formation of Hui folk dance, analyses its formation process in different periods of history, analyses the culture, the body vocabulary of the folk dance, the music, the rhythm of the dance, the influence on the folk dance, and the expression of aesthetic consciousness. Folk dances of the Hui nationality originate from the folk, and they also show their unique living habits, combining dance with the details of life to outline their unique dance posture. Hui folk dance expresses the value of aesthetic emotions, aesthetic knowledge, and aesthetic ideals of dance through historical portraits, national spirits, and traditional canons. The formation, aesthetic consciousness, and aesthetic characteristics of Hui folk dance were analysed to better understand the history and culture of Hui folk dance, learn it, inherit it, promote it, and enrich it for sustainability. Dance aesthetics as part of audience service. The audience will be aesthetically satisfied and this will affect their behavioural intentions.