Aesthetic Experience Research Articles

The Research of Virtual Reality Technology in Animation Creation Based on Honeycomb Decomposition and Proportional Reduction Algorithm

Virtual reality technology has recently become a method of artistic expression, which brings new aesthetic experience to audiences. This paper discusses the application of virtual reality technology in animation creation and its influence on audience experience. The study compares the viewing experience of virtual reality animation and ordinary animation through questionnaire survey. The results show that virtual reality animation is better than traditional animation in terms of viewing effect and immersive experience. However, the highly immersive environment of virtual reality animation may make it difficult for the audience to distinguish between reality and virtual situations, resulting in psychological and physical discomfort, so this aspect still needs to be improved. This paper also discusses the potential and future research direction of virtual reality technology in animation creation, including personalized customization and interactive communication enhancement. This study has reference significance for the creation of virtual technology in animation.

Room to Breathe: Testing the efficacy of mindful breathing and mindful design in enhancing museum experiences

ABSTRACT Mindfulness-based activities are increasingly offered in arts institutions, yet little is known about the effectiveness of different interventions. Across two experiments, we examined the impacts of mindful breathing and mindful design on mood and aesthetic experience at Manchester Art Gallery. In Experiment 1, 202 participants viewed two portraits in Room to Breathe, a gallery space designed for mindful art viewing, after watching either a mindful breathing video, an informational video, or no video. Mindful breathing had no significant effect on mood or aesthetic experience. Experiment 2 replicated Experiment 1 in a traditional, non-mindful gallery space, allowing for a direct comparison of mindful breathing and mindful design (N = 261). While mindful breathing again had no impact, mindful design led to increased valence, decreased arousal, higher perceptual engagement, and more time spent viewing. These findings suggest that mindful design, as in Room to Breathe, may enhance aesthetic engagement and well-being.

Natural or Human Landscape Beauty? Quantifying Aesthetic Experience at Longji Terraces Through Eye-Tracking

This study investigated tourists’ visual perception, aesthetic experience, and behavioral intentions across four types of landscapes. A total of 353 questionnaires were distributed on-site, and the SOR model was used to examine the visual stimuli and aesthetic responses perceived by tourists, followed by laboratory eye-tracking to observe tourists’ points of attention on the Longji Terraced Fields landscape Key findings reveal that different residences and revisiting conditions affect tourists’ visual attention, with the most attention given at the intersections of landscape elements. Furthermore, although landscape visual stimuli do not significantly affect the intention response, eye movement parameters are positively correlated with aesthetic experience. The study contributes to understanding tourist aesthetic perception in terraced rice field landscapes and provides Chinese cases for the aesthetic appreciation of the terrace landscape.

Analyzing the role of customers' experiences and emotional responses in shaping Generation Z's impulse buying behavior on Shopee video platform.

The swift growth of e-commerce has markedly changed how consumers shop, especially among Generation Z, which is called Digital Natives. This study examines how product presentation videos on the Shopee video platform influence impulse buying behaviors in this group, focusing on how internal stimuli, including entertainment experience (ET), educational experience (ED), escapist experience (ES), and esthetic experience (EH) influence online impulse buying (OIB) through the mediation of arousal (AR) and pleasure (PL). In addition, demographic factors, including age, gender, and income, are treated as control variables. This research adopts a quantitative methodology, and data was gathered using a Likert scale questionnaire and a non-probability sampling method, while the SmartPLS statistical tool was used to analyze the interactions of these stimuli and their effect on the impulse buying behavior of Generation Z on digital platforms. Research indicates that entertainment and recreational activities boost emotional engagement by eliciting arousal and pleasure. Educational experiences increase knowledge and also stimulate these feelings. Escapist activities provide temporary relief from daily stresses, increasing arousal, but can also highlight personal insecurities, possibly reducing pleasure. Esthetic experiences, subject to personal tastes, provoke emotional reactions that may vary in pleasure. For Generation Z, arousal and pleasure significantly influence impulsive buying decisions. The insights indicate that effectively managing internal factors can trigger emotions leading to impulsive purchases, offering strategic marketing tactics for optimizing e-commerce on platforms like Shopee video. This research advances the understanding of consumer behavior theories in the digital era, emphasizing the intricate roles of arousal and pleasure in online impulse buying.

Artistic and aesthetic phenomenology of video games: multimodal semiotics and educational potential

Introduction. In modern media culture, new forms of representation of the aesthetic are emerging, based on screen modality and interactive mechanics. Video games with artistic and cultural content will allow to form new methodological techniques and conditions of cultural knowledge broadcasting, as well as to create a unique semiotic environment of aesthetic experience acquisition. The aim of the article is to study the theory and practice of the educational potential of video games with artistic, cultural and aesthetic content. Materials and Methods. The study is based on the interpretation of video games through the prism of the concepts of “cybertext” and “procedural rhetoric” proposed by E. Aarseth and J. Bogost. The reconstruction of multimodal semiotics of video games is based on the ideas of J. Havreliak and V. Toch. The educational topicality of the work is based on the Digital Game-Based Learning methodology developed by M. Prensky. Results. Four (iconic, narrative, auditory, and procedural) main semiotic modules of aesthetic content representation in video games are identified and analytically explicated. Attention is emphasized on their multimodal use within the framework of creating a unified semiotic ensemble. The conducted training experiment demonstrated: firstly, the interest in the majority (85%) of students to use DGBL-methodology; secondly, a high (82%) mastery of the factual material present in the video games under consideration, and the formation in 53% of the intension for additional self-education; thirdly, 77% of the students had a noticeable aesthetic response to the video games; fourthly, 20% of the respondents had difficulties in mastering the video games and 27% were concerned about the considerable time required to master the video game cybertexts. KEYWORDS Conclusion. The language of video games has exceptional (among other screen arts) semiotic and mediarhetorical possibilities to construct artistic images and aesthetic messages. Video games created a contour of direct, subject oriented immersion in the aesthetically engaged context of virtual reality, and students were able to act as actors influencing the on-screen creation of an artistic media text. The use of video games in the regular educational process requires, firstly, solving the problem of educational non-profile of video games, which creates the need for methodological support of students in educationally oriented navigation of video game cybertext, and secondly, optimizing the time frame of educational work with video games. After solving these issues, it is possible to create a new, semiotically multimodal educational space of subjective engagement with artistic images and aesthetic values on the basis of the DGBL methodology.

Сүр жавхлангийн тухай Кантын ойлголтыг орчин үеийн гоо зүйн онолд холбогдуулан тайлбарлах нь

Interpreting Kant's Concept of the Sublime in Connection with Modern Aesthetic Theory Immanuel Kant is regarded as a prominent philosopher in defining the concept of the aesthetic sublime. The significance of the concept of the sublime in his Critique of the Power of Judgment lies in bridging the gulf between the spheres of nature and freedom. Through two distinct modes, the mathematical and dynamical sublime, Kant reveals how aesthetic experience transcends mere sensory perception. The mathematical sublime allows the imagination to seek the totality of the absolutely great, while the dynamical sublime reminds us of our capacity for practical reason that stands superior to nature. For Kant, sublimity does not reside in the object itself, but in our minds. As a pure aesthetic judgment, the judgment of the sublime is subjective universal, necessary, and grounded in disinterestedness and purposiveness. Although the concept of the sublime significantly influenced German Romanticists, it gradually ceased to be the primary concern of aesthetics. We argue that contemporary aesthetic concepts such as the atomic sublime, the avant-garde sublime, and the technological sublime draw their conceptual lineage from the Kantian understanding of the sublime.

How Literature Creates Atmosphere: A Michel Henry's Material Phenomenology Approach

"Atmosphere" constitutes a distinctive emotional space crafted by authors within artistic works—it inheres in specific material substrates while manifesting through corporeal perception. As one of the core elements of literary aesthetic experience, atmosphere profoundly influences readers' emotional resonance and the manifestation of textual significance. Regrettably, Gernot Böhme, a pivotal figure in facilitating the "atmospheric turn" in contemporary aesthetics, fails to provide explicit methodological guidance for atmosphere creation. Drawing upon Michel Henry's material phenomenology, this study systematically elucidates the internal logic and generative mechanisms of literary atmosphere. By examining how writers strategically deploy diverse material presences in literature—including perceptual materials, affective transmitters, and mnemonic devices—this paper reveals the techniques for constructing immersive atmospheres that deliver unforgettable emotional experiences to readers.

Reception of Spanish Dance in the Productions of Modern Choreographers

The purpose of the article is to identify the features of stylised Spanish dance and outline its reception by modern choreographers using the example of flamenco. Research methodology. The method of theoretical and historical-cultural analysis was applied in order to clarify the features of the historical development of Spanish dance and the circumstances of its formation as a folk-stage one; typological and systemic analysis to conceptualise the technical features of flamenco dance choreography; the method of genre-style and art history analysis, which contributed to identifying the features of flamenco reception in the productions of modern choreographers. Scientific novelty. The issues of reception of Spanish dance in the productions of modern choreographers using the example of flamenco dance are considered; the process of formation and development is clarified and the features of stylised Spanish dance are identified; the technical features of flamenco are analysed; the approaches of leading choreographers of the 21st century are outlined. to flamenco productions (for example, "Compañía Suite Española", choreographers-directors Ricardo and Rosario Castro Romero and the performance "Invocación" of the National Ballet of Spain, choreographer-director R. Olmo). Conclusions. Stylised Spanish dance was formed on the basis of the personal contribution of leading dancers to choreographers by reworking or abstracting folklore, the bolero and flamenco schools, and most of its development took place in France and the United States of America. The importance of the evolution of the choreographic language of Spanish dance and the representation by modern generations of the best examples of the folk dance culture of Spain in bright, spectacular forms that provide the opportunity to obtain a new artistic and aesthetic experience, determines the appeal of choreographers-producers to stylisation (neoclassical Spanish dance) and dance-fusion (combining the heritage of Andalusian dance and music culture with elements of various directions and styles of dance, including modern). The reception of Spanish dance in the productions of modern choreographers is characterised by a variety of points of view, vocabulary and ways of understanding it. The use of the vocabulary of traditional Spanish dance is a popularization of the cultural heritage of the Spanish people and involves the representation of bright images, colourful Spanish temperament and characteristic passion.

Transfeminist pregnancy: reproductive speculation, genre, and desire

In the explosion of abortion bills post Dobbs, anti-abortion language identifies women according to their reproductive potential: ‘Woman' means [...] an individual with a uterus, regardless of any gender identity.’ According to this definition pregnancy or the potential for pregnancy define womanhood. Women without uteruses (cis and trans) are excluded, and trans men with uteruses are absorbed into the category of woman. This reproductive language, tethering transgender and reproductive politics, requires a reassessment of how pregnancy is theorised in feminist and transgender studies. In the following article, I argue that pregnancy is not to be defined by biological phenomena but instead as a genre of political, aesthetic, and affective experience and expectation. As a multidimensional genre of experience, rather than merely a biological datum, pregnancy can potentially establish a shared ground between trans and cis women. Pregnancy is an existential experience involving birth and becoming in a larger sense. We need a more all-encompassing notion of pregnancy, which is nourished by the capacious social world of conception and giving new life. Such a definition of pregnancy supports the goal of feminists, who resist the reduction of womanhood to reproductive function. For transgender studies, a wider understanding of pregnancy helps to build a transsexual theory of reproduction on feminist grounds.

Beirut: Alternative Chronotopes for an Aesthetic Experience of Presence

The capital city of Lebanon has borne witness to violent and degrading events. Marred by incessant destruction, wasting, and latent promises of prosperity, the image of the city is enshrouded with a hauntingly resilient memory characterized by unresolved conflicts and urban alienation. These experiences have left their visual and experiential mark throughout the urban space producing a state of involuntary suspension. While memory appears initially to be a strictly temporal phenomenon, this article propounds the spatial repercussions of memory. Additionally, the aim of this article is to turn to artistic and critical design practices to produce new images leading to an aesthetic experience of the presence. The article highlights selected projects by local artists and designers that attest to the formation of new aesthetic experiences of presence. These experiences provide a way out of the deadlock of memories and tropes in favor of an alternative chronotopic image of Beirut.

Reflective equilibrium, aesthetic appreciation, and aesthetic judgement

I explore the relevance of reflective equilibrium to aesthetic experience, judgement, and appreciation, framing this project in both descriptive and normative terms. I begin with an exposition of reflective equilibrium, construed as a theory of epistemic justification, and of aesthetic appreciation, characterised as an activity with an epistemic goal—namely, achieving an optimal understanding of an artwork or aesthetic object. I stress the broad purview of reflective equilibrium, as well as Rawls’ arguments on the importance of aesthetic activity in human experience, and thus its place in a theory of justice. These preliminary considerations set up a more detailed exploration of reflective equilibrium in action in the aesthetic domain. I develop the argument with reference to a range of cases, from mainstream filmmaking to twelve-tone composition, considering the place of reflective equilibrium in aesthetic appreciation in both its individual and collective guises, as well as its “wide” and “narrow” forms. I demonstrate how the application of reflective equilibrium in the context of the critical appreciation of art relates to a range of significant issues in aesthetics, via the examination of arguments from Sontag, Sibley, Walton, Carroll, and Gaut (among others). Finally I assess various objections to, and extensions of, the main argument, including the objection that aesthetic appreciation does not aim at understanding, and the proposal that the embodied, emotional dimension of aesthetic experience, which must be accommodated by reflective equilibrium in the context of aesthetics, may shed light on its nature and operation in other domains.

Aesthetic Judgment in Calligraphic Tracing: The Dominant Role of Dynamic Features.

Aesthetic judgment in visual arts has traditionally focused on static features, yet research suggests that dynamic features also shape aesthetic experience. This study examines the dominance of dynamic features in calligraphic tracing aesthetics. Using a custom-designed calligraphy acquisition system, we recorded calligraphy experts and novices imitating Chinese characters and presented their works in three formats: static result sequence video s, pen-holding writing video f, and brushstroke trajectory video b. Participants then rated the stimuli on aesthetic dimensions. Results show that stimuli containing motion cues (f and b) received significantly higher ratings than static stimuli (s), confirming the positive role of dynamic features. Additionally, traced results maintained high structural similarity across writers. And the predictive power of static features for aesthetic scores was limited. This confirms the weak influence of static features on the aesthetics of calligraphic tracing. In conclusion, this study reveals that dynamic features play a dominant role in aesthetic judgment within the context of calligraphic tracing. These findings contribute to aesthetic modeling, proposing that observers dynamically adjust the weighting of static and dynamic features based on aesthetic context to form aesthetic judgments, thereby offering a novel perspective for research on aesthetic cognition mechanisms.

Homo Legens: Человек читающий

<p>The article raises the problem of the psychology of fiction as a form of art from the standpoint of cultural and historical methodology. Separately, based on the ideas of M.M. Bakhtin about the dialogic nature of the text and A.N. Leontiev about the communicative nature of art, issues related to the creation of works of art and their understanding are considered, which is reflected in the sections "the work of the author" and "the work of the reader". The meeting of the author and the reader means the birth of Homo Legens - the Reading Man: this publication is devoted to the study of this phenomenon. Fiction (as the author's work) can be analyzed in two ways: on the one hand, it acts as an object of psychological research, and on the other - its subject, an independent carrier of psychological knowledge. In the first case, literature is either an object of scientific and psychological study, or its means; in the second, the possibility of treating literature as a carrier of extra-scientific psychological knowledge is substantiated, which determines its its psychotechnical effect on the reader. The reader's perception of a literary work (the reader's work) is analyzed from artistic and scientific positions, which complement each other. Based on L.S. Vygotsky's ideas about the activity of aesthetic experience and P.Ya. Galperin's doctrine of interiorization, the point of view is substantiated according to which the reader's understanding of a literary work is a process of its active recreation, which is consonant with V.F. Asmus's ideas about reading as creativity. In conclusion, using fiction as an example, a conclusion is made about the productivity of turning to scientific and non-scientific (literary) sources of psychological knowledge in developing issues of the psychology of art.</p>

Performance as Translation.

An instructive perspective of translatology is that of examining trans­lation as performance. Here, key questions are for what purpose a trans­la­tion is made and how it was prepared for that purpose. Regarding method, how­ever, it would be an original move if one looked at the performance it­self in its translational dimension. Following such a perspective, this essay examines how performative actions can translate the transcendent or in­vis­i­ble ‘sacred’ into an aesthetic experience. The authors explain their approach by looking at a significant event, the dedication of the church of the Sagrada Fa­milia in Barcelona (2010) together with the homily of Pope Benedict XVI. The main reason for that choice is that the liturgy is not only an issue of theological reflection, since it also allows one to examine translational pro­cess­es in a polysemiotic-performative way. Indeed, in the liturgy the rite, text lan­guage, art and architecture work together harmoniously into an in­te­gra­tive action that can shape the aesthetic experience of the “sacred”. As a trans­dis­ciplinary study, this essay seeks to provide further perspectives for future research in many areas of the humanities.

Artificial Intelligence in Neoplasticism: Aesthetic Evaluation and Creative Potential

This research investigates the aesthetic evaluation of AI-generated neoplasticist artworks, exploring how well artificial intelligence systems, specifically Midjourney, replicate the core principles of neoplasticism, such as geometric forms, balance, and color harmony. The background of this study stems from ongoing debates about the legitimacy of AI-generated art and how these systems engage with established artistic movements. The purpose of the research is to assess whether AI can produce artworks that meet aesthetic standards comparable to human-created works. The research utilized Monroe C. Beardsley’s aesthetic emotion criteria and Noël Carroll’s aesthetic experience criteria as a framework for evaluating the artworks. A logistic regression analysis was conducted to identify key compositional elements in AI-generated neoplasticist works. The findings revealed that AI systems excelled in areas such as unity, color diversity, and overall artistic appeal but showed limitations in handling monochromatic elements. The implications of this research suggest that while AI can produce high-quality art, further refinement is needed for more subtle aspects of design. This study contributes to understanding the potential of AI as a tool in the creative process, offering insights for both artists and AI developers.

Integrating AHP-SBE for Evaluating Visitor Satisfaction in Traditional Village Tourism Landscapes

Traditional villages, as repositories of cultural heritage and natural landscapes, have gained increasing prominence in the tourism industry. However, balancing authenticity preservation with visitor satisfaction remains a critical challenge. This study employs a combined Analytic Hierarchy Process (AHP)–Scenic Beauty Estimation (SBE) approach under the theoretical framework of 4E theory (Entertainment, Education, Aesthetics, and Escapism) to comprehensively evaluate visitor satisfaction in traditional village tourism landscapes. Eight nationally designated tourism-oriented traditional villages in Anhua County, China were selected as case studies. Findings from the AHP analysis reveal that aesthetic and escapism experiences are the most influential dimensions in shaping visitor satisfaction, while entertainment and educational experiences, though secondary, remain integral to a well-rounded tourism framework. The SBE evaluation corroborates these results, highlighting that seasonal characteristics, stress relief, and cultural landscape diversity significantly enhance visitor experiences. Conversely, deficiencies were observed in social interactivity, satisfaction with educational experiences, and fulfillment of aesthetic needs, indicating areas for improvement. A strong positive correlation between AHP and SBE scores (Pearson correlation coefficient = 0.867, p < 0.01) underscores the alignment between expert-driven evaluations and visitor perceptions. These insights suggest that integrating expert-based hierarchical analysis with empirical visitor assessments provides a more robust and multidimensional framework for sustainable tourism management. Recommendations include enhancing social interactivity, optimizing educational components, enriching aesthetic experiences, and ensuring the preservation of vernacular landscapes to foster sustainable, experience-driven rural tourism development.

Experience and Interpretation: A Question for Dewey's Aesthetics

Abstract Experience and interpretation are two key topics of twentieth-century aesthetics that remain central today. Although aesthetic experience forms the core of John Dewey's Art as Experience, the book neglects the issue of interpretation. My essay explores this surprising lacuna in Dewey's aesthetic masterpiece. Dewey's pluralism, fallibilism, and critique of the quest for certainty should make the concept of interpretation very appealing, because fallibility and openness to plurality of perspectives are precisely what define the concept of interpretation and traditionally distinguish it from fact or truth. Dewey's neglect of interpretation in Art as Experience is even more puzzling when we recall that his early views on art and philosophy did not share this disregard but instead embraced the centrality of interpretation. My essay explores the possible reasons for this change of attitude, after demonstrating this change by comparing Dewey's dismissive view of interpretation in Art as Experience to his early essays where interpretation plays an important role.

Research on aesthetic perception factors of city outdoor advertising based on Kano model.

Research on aesthetic perception factors of city outdoor advertising based on Kano model.

Haptic Aesthetic Experiences of Drawing

Abstract This article aims to acknowledge the bodily complexity of the drawing experience by regarding bodily movement as a teaching modality. Theoretically and methodologically, the article explores the didactic potential of variation in relation to phenomenography, artistic practice, and the Feldenkrais Method of movement. Two interdisciplinary drawing workshops were held, combining drawing with Feldenkrais intraventions. The participants’ drawings were analyzed, with the assumption that changes in the bodily experience of drawing would be discernable in the lines on the paper. The results indicate that the Feldenkrais intraventions affected the bodily experience of drawing. Changes in the bodily experience were discerned and described in terms of proprioceptive presence, with reference to Jennifer Fisher's concept of haptic aesthetics. Two kinds of presence were brought to the fore: a presence defined as being present in the moment, and a presence defined as an increased sensibility towards three-dimensional volume and space. Both kinds are subtle qualities of bodily performativity that tend to go unnoticed in educational settings, in favor of visual or more explicitly performative bodily expressions. A relational epistemological approach is put forth as a way to acknowledge performative qualities of the drawing experience in teaching and learning.

Unlocking the secrets of scenic beauty: a quantitative analysis of object variety and connections in scenic images.

The perception of beauty, though often subjective, is influenced by identifiable structural and spatial patterns that shape how individuals experience their surroundings. This study explores the roles of object variety and connections in scenic images in shaping perceptions of environmental aesthetics, using advanced computer vision techniques and regression analysis. Drawing on data from the Scenic-Or-Not project and leveraging the Segment Anything Model, we analysed landscape photographs to understand how object diversity and spatial arrangement affect aesthetic judgments. Our findings reveal a positive correlation between object diversity and perceived scenicness, emphasizing the importance of visual richness and complexity in enhancing scenic appeal. However, excessive object diversity can introduce visual clutter and diminish aesthetic value. Our analysis of object connections, measured through graph-based metrics like network density and clustering coefficient, reveals that denser and more interconnected arrangements enhance scenic appeal, while overly efficient local connections reduce visual interest. These results demonstrate the importance of balancing complexity, coherence and interconnectedness in scenic design. By situating these findings within established theoretical frameworks, this study provides insights for disciplines such as environmental science, urban planning and landscape management, offering guidance for creating environments that evoke positive aesthetic experiences while maintaining visual harmony and interest.