Aesthetic Experience Research Articles

О трудной проблеме в эстетике

<p>Aesthetics, like other branches of philosophy, has its fundamental problems. At different points in the history of aesthetics, such problems have been taste as a form of aesthetic judgment, the limits of art, the possibilities of aesthetic method, and others. Today we can distinguish at least three fundamental problems that are solved in aesthetics with varying degrees of success. The first is a set of problems of aesthetic experience, including the problem of its existence and the problem of its analysis. The second is the problem of art as a special object of aesthetic experience. The third has not yet been clearly defined, but today it is labeled as the problem of the everyday aesthetics, the aesthetics of the environment, or the aesthetics of atmosphere. Within a problem field there may be a problem that is the essence of the field but has not been solved yet. Within the set of problems of aesthetic experience there is a hard problem. It is based on the distinction between sensory and aesthetic experiences. The essence of this problem: what is the necessity of the existence of aesthetic experience on a par with sensory xperience? This problem seems to be unsolved. But if we do not solve this problem, we will have to admit that aesthetic experience is accidental, that there is no need for its existence, that it is reducible to other forms of experience, and that it has no characteristic of its own.</p>

«Жить по-иному»: эстетический опыт как опыт преображения

<p>The intensity of aesthetic experience can be seen as endowed with the power to transform and transfigure. This effect is revealed in the article through the analysis of Rilke’s poem “The Archaic Torso of Apollo” (1908), which describes a concentrated aesthetic experience when contemplating a sculptural fragment, as if this experience called for a change in one’s life, but without indicating the direction of change. The nature of this experience is defined in terms of the concept of presence of H.U. Gumbrecht. The absence of a meaningful indication in aesthetic experience connected with the perception of a work of art correlates with Kantian definitions of the sublime. The aesthetically sublime indicates not concrete content, but awakens in us the idea of the infinite, and it, in turn, can be associated both with the religious experience, and with the principle of transforming and transcending oneself as the basis of a person’s spiritual life. Accordingly, it is concluded that in the post-metaphysical secular epoch, the intensity of aesthetic experience, appealing to transformation and to “another life”, replaces the metaphysical search for supernatural harmony and religious faith.</p>

Что бы ни случилось с киноопытом: от чувственных данных к опытности в истории эстетики

<p>The aesthetics of sensuality is rightfully considered an interdisciplinary field. One of the principles of such reasoning is the shift from the particular to the general, since sensuality is able to resist the 'majors' of rationality among topics (aesthetic judgment, art expertise). Even the most non-reductive approaches, standing apart from the Theories, emphasize the absence of common features that many aesthetic experiences would inherit. Whereas experience, along with observation, has a base that acts as an aid to academic texts. In the language of film criticism, there are seemingly intuitive, but productive notions: intonation, voice and atmosphere. Experienceness as a concept at the intersection of practical aesthetics and film theory makes it possible to find prerequisites for interest in sensuality in a cumulative sense in the history of aesthetics. Being an expression of a particle 'already', referring to both time and space, experienceness in the narrow sense (watchfullness) means a qualitative gap between the value judgment of the film and the depth of experience. While in a broad sense (namely experienceness ) It can be a reason to reconcile the axiology and phenomenology of the sensual side of cinematic experience.</p>

A Review of the Impact of Aesthetic Experience on Consumers' Purchase Decisions

A Review of the Impact of Aesthetic Experience on Consumers' Purchase Decisions

Applying Stimulus–Organism–Response Theory to Explore the Effects of Augmented Reality on Consumer Purchase Intention for Teenage Fashion Hair Dyes

The application of augmented reality (AR) in the beauty and hairdressing industry provides customers with a rich experience, especially in terms of virtual hair styling. Through virtual hair color tests, customers can quickly decide on the most suitable hair dye for them. Teenagers use multimedia communication channels to distinctively express their enjoyment of and aesthetic experiences with the interactive, emotional, and spatial aspects of AR. They can also preview diverse hair dyes and hairstyles in a virtual environment and, ultimately, select the option that suits them the most. This study applied the Stimulus–Organism–Response (S–O–R) theoretical framework and collected 337 valid samples through a SmartPLS-4-supported questionnaire survey for analysis. The results revealed that spatiality significantly influenced behavioral intention in the context of aesthetic experiences, whereas interactivity significantly influenced behavioral intention in the context of entertainment experiences. Overall, the hair dye consumption behavior of Taiwanese teenagers was positively influenced by spatiality and interactivity, and the overall model was well structured. The findings of this study can serve as a reference for businesses to develop innovative technology products that enhance consumer marketing experiences and can contribute to the future development of the hair dye segment of the fashion industry.

The unexplored territory of aesthetic needs and the development of the Aesthetic Needs Scale.

Human needs, and their fulfillment, are the building blocks of human development, personality, and well-being. However, no published paper in the field of psychology has focused on exploring aesthetic needs. Maslow (1986) gave the topic little more than a paragraph; and Dweck [1], in her elegant Unified Theory of Motivation, Personality, and Development, never mentions aesthetic needs. The aim of this article is to describe developing a scale for measuring the intensity of aesthetic needs. The structure, psychometric properties, and criterion-related validity of the scale were verified with three independent samples (total N = 592). The results of an EFA and two CFAs indicated a three-factor structure: 1) the need to aestheticize everyday life (aesthetic experiences of everyday objects and events unrelated to art, such as the presentation of food or the appearance of a workspace, etc.); 2) the need for contact with aesthetic creations (the arts); 3) the need to aestheticize the built and natural environments (urban spaces, architecture, parks, wild nature, etc.). In addition, our criterion-related convergent validity studies have shown that people with high aesthetic needs are characterized by experiencing more intense experiences in contact with works of art, have higher aesthetic competence in art, are more intensely involved in four forms of beauty, have a higher ability to integrate beauty, a stronger trait gratitude, curiosity about nature, greater sensitivity to disgust, and the need for internal and external stimulation. This scale may prove useful in research on individual differences and the psychology of aesthetics.

Svetlov, I., Lukicheva, K. and Arias-Vikhil, M., eds. (2023). Paris around the 1900s. Joséphin Péladan’s Society of ‘Rose + Croix.’ St. Petersburg: Aleteya. (In Russ.)

The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

PENDEKATAN PENILAIAN AUTENTIK UNTUK PEMBELAJARAN SENI BUDAYA

Authentic assessment is currently an issue in learning. The purpose of authentic assessment is to get a portrait of the factual competence of students. Therefore, authentic assessment is very important. Some research results indicate that many teachers reluctantly employ authentic assessments. The most often mentioned argument is due to the burdensome responsibilities of the teachers and the limited time they have. The current study attempts to affirm what authentic assessment is and how it is employed in the assessment of students’ learning in arts and culture as a subject at schools. Along with the complicated goals of arts and culture learning, authentic assessment offers a challenging issue for teachers since the subject itself aims at improving students’ attitudes. This attitude enhancement is done by providing an aesthetic experience to students. Aesthetic experience helps the achievement of the goal manifested in arts and culture practices. Therefore, teachers need to look at two features specifically constructing assessment in arts and culture learning, namely asthetic experience and arts and culture practices. The study results in the conception of an approach to authentic assessment of arts and culture learning.

Artistic expression as a property of resonant musical experience: an interview study with upper secondary school music teachers

Background The concept of artistic expression is present in the curriculum for upper secondary school music program in Sweden. Being a criterion for assessment, no definition is provided by the National Agency of Education and there exists no consensus of how to interpret artistic expression among music teachers and music teacher students. Methods In order to explore how teachers understand, teach, and assess the concept and phenomenon of artistic expression, twelve qualitative interviews with music teachers were conducted and analyzed through an open coding process. Results The findings show that the concept of artistic expression is multifaceted and evasive. The results focus on two analytic threads: (i) situatedness and (ii) entanglement. (i) AE is situated due to context-specific parameters which underpins the meaning of the concept in this particular educational setting. (ii) Furthermore, the phenomenon of artistic expression is entangled (a) with the ongoing relationship between teacher and student, and (b) in a temporally unfolding and interactive musical event. The phenomenon of artistic expression as entangled is discussed, primarily through Hartmut Rosa’s concept of resonance, which brings into focus the intersubjective character of aesthetic experience. Doing so questions understandings of – and assessment procedures surrounding – artistic expression that relies on skill-based interpretations or reductions of entanglement. One example of such reduction is assessment of recordings of student performances which limits the (a) relational perspective (if assessed by a third person) or (b) the entanglement with the musical event. The perspective of resonance brings forth the teacher’s role during a student performance as characterized by self-efficacy and active listening, thus co-constitutive of artistic expression. Conclusions The article concludes with reflections on how the findings may contribute to the continuous discussion on how scientific grounding and proven experience may inform both the music education at upper secondary school and music teacher education. The concept of resonance provides a possibility to reframe conceptions of artistic competence in art education as being grounded in intersubjective and relational terms, rather than being reified as a set of measurable skills, an understanding which in turn risks replacing learning with criteria compliance.

Il sublime delle stenelle. Riflessioni sull’estetica del whalewatching

ABSTRACT The present article applies some classical categories developed by the early modern tradition of philosophical aesthetics to an area of inquiry that has only recently been studied extensively by contemporary aesthetics. Here I propose to consider the practice of whalewatching as an aesthetic practice, having its specific aesthetic features and peculiarities. To do so, I will cross three very different traditions: the early modern tradition represented by the theorists of the Sublime as an aesthetic category of relevance, developed by many authors in the XVIII century and here presented via the reconstruction of Remo Bodei, the pragmatist, experience-centered aesthetics of John Dewey and the more contemporary, mostly Anglo-American, studies on animal aesthetics as a distinct topic. The discussion of the traditions mentioned is aimed at providing a theoretical framework not only valuable for an analysis of the aesthetic nature of the practice of whalewatching, but also to propose a new category of aesthetic experience, that I call here animal sublime.

Network modeling of aesthetic effect for Chinese Yue Opera costume simulation images

Abstract In the digital age, virtual simulation images have become an important communication form of Chinese traditional Yue Opera costumes and their culture. Focusing on the lay viewers’ aesthetic experience, we collected 16 subjective evaluations, including favorites of basic design elements, semantic impressions, and high-level aesthetic experience, of 257 participants on 5 virtual simulation pictures of Yue Opera costumes for different characters and used network analysis to explore the possible relationship of the variables. The inferred networks showed that the archetypal aesthetic was more relevant to the costume design elements, emotions, interests, and the sense of high level. The conspicuous clothing, understanding of creative intent, and the desire for cultural knowledge were key “bridges” in the aesthetic process. Although the aesthetic network of each costume varied partially based on character differences, it showed more similarities overall. On the basis of the findings, we discuss the possible theoretical basis of the networks and make practical suggestions for the virtual dissemination of Yue Opera costumes.

Transmitting Awareness (saṅkrānti)

Abstract On the basis of a parallel passage in Abhinavagupta’s commentaries on the Nāṭyaśāstra and the Īśvarapratyabhijñākārikā, this article considers the ways in which Abhinavagupta theorized “transmission” (saṅkrānti) in his descriptions of aesthetic experience and the reception of knowledge in non-dual Śaiva philosophy. We argue that this notion of transmission, in which the lines between author and qualified audience are blurred, is indebted to a number of earlier sources that explain the way in which knowledge and liberation are transmitted, most significantly the Kaula Śākta traditions in the immediate background of Abhinavagupta’s tantric exegesis. Here the terms saṅkrānti and saṅkramaṇa are employed in descriptions of initiation, the transferal of lineage, and a Guru’s awakened awareness passing into the body of a disciple. In Abhinavagupta’s parallel passages, he expands upon this notion of “transmission” by showing how it can emerge even when a teacher/poet and a student/audience are separated by time and space. In both accounts, what allows an ideal audience to internalize or identify with a teaching or text is an act of participation that effectively dissolves the limitations of time, space, and individuality. Interestingly, in both the aesthetic and non-dual Śaiva context, this process of transmission unfolds through an indirect mode of expression that cannot be reduced to reasoning. The article concludes with an exploration of the purpose of Abhinavagupta’s vision of transmission, particularly related to the notion that texts can encode, preserve, and, in the presence of a sensitive audience, reenact the awareness of their authors, even after lineages break or traditions fragment.

The aesthetic and affective matrix of pre-reflective sensemaking at the origins of the relationship between subject and world: A dialogue between Kant’s Third Critique and psychoanalysis

ABSTRACT The authors discuss the relevance of aesthetic and affective experience at the heart of the human being’s capability to relate to the world and to found relations of sense. Faced with anguish that the world can be meaningless and with fear of uncertainty/chaos, trust and hope are needed for the world to be a hospitable place for existence. Such experience is aesthetic, sensitive and affective before being rational, reflective and deliberative. Through a dialogue between Kant, Winnicott and Bion, it is shown how foundation of trust is based on two essential aspects: (1) The illusion that reality was created to allow us to live in it (namely, the fictionality is a prerequisite for each possible development of psyche) and (2) this illusion is not generated by a solipsistic activity of the human mind; rather, it is made possible starting from the primordial relationship with the other, by containing anguish, nourishing trust and hope, and supporting psychic development and elaboration of progressive forms of symbolisation. The authors discuss how these points have a profound aesthetic implication through deepening the reflection on the ontogenetic development of the psyche, the complex intertwining between primary and secondary processes, and clinical implications.

‘미적 체험’을 통한 교육적 경험의 변용과 창조

The purpose of this study is to design a curriculum with works of art that are aesthetic objects, and to present through actual learning activities how the transformation and creation of educational experiences develop in the course of instruction. The school field has long lost its vitality due to the problems with mem-orization education and the resulting dead knowledge irrelevant to the learner. Aesthetic experiences are the prototype of educational experiences that revitalize this educational field and actively motivate learning. The curriculum was designed as 'art-based educational research', and works of art were textured and classes were conducted through storytelling. Through Picasso's works, it was reorganized into educational experiences such as 'expanded perspective on the world', 'self-reflection for effort and development', 're-cognition of human nobility', and 'a source of positive energy'. From the point of view of each character, Sophocles' work saw the image of a tyrant in arrogance and narcissism who forced others to sacrifice to maintain his power through Creon and thought about the fate of a young man who had no choice but to choose death out of responsibility for his lover and self-destruction for his father. These results served as an opportunity to experience the possibility of transformation from visual to cognitive images, and it was found that recognition of problems from various perspectives is a stepping stone for expanding the eye.

“Where, Meantime, Was the Soul?”: The Uncanny as an Aesthetic Image of Impossibility

Abstract: The uncanny experience refers to unsettling feelings that emerge when confronted with events that seem remotely familiar but still strange and opaque. It relies on magical thinking, as the experience seems to take place emphatically in the sensorial realm, partly lacking symbolic quality. In this article, I approach the uncanny as representing an inability to represent, revealing discontinuities and gaps in experience. I suggest that the uncanny representation can be approached creatively and turned into an aesthetic experience. The uncanny as an aesthetic experience enables a creative elaboration of being unable to overcome a gap. Thus, it can contribute to self-growth and deepening of a subjective sense of self. To illustrate the creative potential of the uncanny I look at two examples, one from literature and the other a personal account. I further elaborate on the position of the uncanny in the field of aesthetics by comparing it with the sublime experience and suggest that the uncanny is a negative of the sublime. In the sublime, a representation of the infinite and unspeakable is formed, while the uncanny, in contrast, represents the impossibility of doing so.

Courageous Love: K. C. Bhattacharyya on the Puzzle of Painful Beauty

Abstract In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya's theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views that dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness.

Increases in Aesthetic Experience Following Ayahuasca Use: A Prospective, Naturalistic Study

Psychedelic drugs are currently being investigated for their potential to facilitate a variety of long-lasting psychological changes. One area that has yet to be systematically investigated in psychedelic research, however, regards changes in aesthetic experience (i.e., one’s attitudes, perceptions, and expression of art). This is surprising given the wealth of anecdotes directly noting increased appreciation of aesthetic experiences after psychedelic use and that psychedelics have facilitated their own distinctive aesthetic (i.e., “psychedelic art”). To address this gap in the literature, participants in the current study ( N = 54) completed a validated and multifaceted measure of aesthetic experience 1-week before, 1-week after, and 1-month after attending an ayahuasca retreat. We found that compared with baseline, participants exhibited increased levels of aesthetic experience at both the 1-week and 1-month follow-ups. Contrary to our hypotheses, measures of acute drug effects (e.g., mystical-type experiences, awe, and ego dissolution) did not predict changes in aesthetic experience. Although the study was limited by an open-label design, the results support anecdotal reports noting changes in aesthetic experience after psychedelic use. Further research is needed to address limitations related to the study design as well as to identify predictors and mechanisms of changes in aesthetic experience following psychedelic use.

Enjoying art: an evolutionary perspective on the esthetic experience from emotion elicitors.

The ubiquity of human art prompted evolutionary psychologists to explore its origins as a potential adaptation to the environment. Here we focus on emotionally charged art and posit that affective affordances embedded into some artworks play a pivotal role in explaining why these artworks are enjoyed from an evolutionary perspective. Such features, recurring in various art forms, are interpreted as cues to the emotional state of others, enabling art consumers to engage in empathetic experiences and vicarious emotions. We explore the adaptive value of deriving pleasure from vicarious emotions, while also addressing the seemingly counterintuitive enjoyment of artworks that evoke negative emotions. We discuss the appreciation of vicarious emotions irrespective of their valence and maintain this appreciation to hold adaptive significance for three key reasons. Firstly, it aids art consumers in refining their interpretational schemes of internal states, potentially enhancing emotional regulation skills. Secondly, it contributes to a deeper understanding of the emotions of others, thereby fostering emotional intelligence and empathy. Lastly, the enjoyment of affectively charged artworks reinforces social cohesion by harmonizing the emotions of group members. This perspective provides a comprehensive framework for understanding the evolutionary underpinnings of the human capacity for art appreciation and emotional engagement.

The development of aesthetic experience through virtual and augmented reality

Emerging technological innovations offer the potential for experiential engagement through virtual scenarios, yet the viability of this approach for educational purposes remains significantly underexplored. This study aims to assess the feasibility of Augmented Reality (AR) and Virtual Reality (VR) technologies in providing users with aesthetic experiences when visiting digital exhibitions. A total of 190 students participated in this investigation. The control group visited traditional exhibits at the Palace Museum in Beijing. This group underwent a survey to evaluate their acquired aesthetic experience. In contrast, the experimental group, comprising 96 students, engaged with VR/AR scenarios at the Palace Museum in Beijing. Accordingly, students in the experimental group were also surveyed to evaluate both their aesthetic experiences and, additionally, their user experiences. The survey results unveiled significant distinctions in aesthetic experiences between students in the control and experimental groups. Moreover, there were notable correlations between individual variables related to user and aesthetic experiences within the experimental group. Furthermore, the study revealed disparities in both user and aesthetic experiences among male and female students. The findings have implications for aesthetic education teachers and officials in the context of developing sound strategies for providing aesthetic experiences to their students. This information is also of interest to employees of museums, exhibitions, and other cultural facilities, who are interested in holding or hold digital exhibitions.

Ecological decoding of visual aesthetic preference with oscillatory electroencephalogram features-A mini-review.

In today's digital information age, human exposure to visual artifacts has reached an unprecedented quasi-omnipresence. Some of these cultural artifacts are elevated to the status of artworks which indicates a special appreciation of these objects. For many persons, the perception of such artworks coincides with aesthetic experiences (AE) that can positively affect health and wellbeing. AEs are composed of complex cognitive and affective mental and physiological states. More profound scientific understanding of the neural dynamics behind AEs would allow the development of passive Brain-Computer-Interfaces (BCI) that offer personalized art presentation to improve AE without the necessity of explicit user feedback. However, previous empirical research in visual neuroaesthetics predominantly investigated functional Magnetic Resonance Imaging and Event-Related-Potentials correlates of AE in unnaturalistic laboratory conditions which might not be the best features for practical neuroaesthetic BCIs. Furthermore, AE has, until recently, largely been framed as the experience of beauty or pleasantness. Yet, these concepts do not encompass all types of AE. Thus, the scope of these concepts is too narrow to allow personalized and optimal art experience across individuals and cultures. This narrative mini-review summarizes the state-of-the-art in oscillatory Electroencephalography (EEG) based visual neuroaesthetics and paints a road map toward the development of ecologically valid neuroaesthetic passive BCI systems that could optimize AEs, as well as their beneficial consequences. We detail reported oscillatory EEG correlates of AEs, as well as machine learning approaches to classify AE. We also highlight current limitations in neuroaesthetics and suggest future directions to improve EEG decoding of AE.