Artistic Experience Research Articles

What Can Happen When We Look at Art?: An Exploratory Network Model and Latent Profile Analysis of Affective/Cognitive Aspects Underlying Shared, Supraordinate Responses to Museum Visual Art

Art-viewing is a defining component of society and culture, in part because the experience involves a wide-range and nuanced configuration of emotional and cognitive responses. Precisely because of this complexity, however, questions of the actual nature, scope, and variety of art experience remain largely unanswered: what kinds of patterns do we exhibit, how do various components go together, and can these be distilled into shared experiential outcomes? We introduce an exploratory study based on 345 individuals’ unique experiences with one of three sets of artworks. Experiences were assessed via 46 affective and cognitive items based on a recent model, with individuals reporting to what degree they felt each during their encounter. Network and latent profile analyses revealed five patterns, aligning to a Harmonious, Facile, Transformative, and two Negative outcomes. These largely supported model hypotheses, connected to specific appraisals, and could be found, although with varying probability, across individual viewers and artworks.

INNOVATIVE FOOTWEAR DESIGN FOR AUTISTIC INDIVIDUALS: MERGING AESTHETICS AND SENSORY NEEDS

The integration of repetitive visual patterns and geometric shapes in footwear design for autistic individuals presents an innovative approach that transcends mere aesthetics. This strategy aims to address the sensory and emotional needs of users, highlighting the importance of visual stimuli in promoting focus and mental organization—key elements for those facing sensory challenges. Research indicates that emphasizing symmetry and repetition in design can create visually pleasing footwear while also facilitating better concentration. Various studies suggest that the perceptual abilities and visual processing strategies of autistic individuals can be harnessed to foster richer and more effective learning experiences, aiding in the development of essential social and cognitive skills. Furthermore, the selection of comfortable materials and the consideration of ergonomic design are crucial to ensure that the shoes are not only visually appealing but also functional and comfortable for everyday wear. By focusing on these aspects, footwear can serve as more than just a fashion statement; it can become a tool for enhancing the quality of life for autistic individuals. The thoughtful combination of art, comfort, and sensory experience in shoe design promotes inclusion and celebrates the uniqueness of each individual. This approach fosters a deep connection between the user and the product, ultimately contributing to a more supportive and understanding environment for those on the autism spectrum.

Toward a conceptualization of the musical self: A theoretical-methodological approach to subjectivity in independent musicians

The objective of this study is to advance a theoretical and methodological proposal for the analysis of subjectivity construction in independent musicians. Existing social and cultural theories of subjectivity have not satisfactorily addressed the artistic experience of musicians. We present an analytic model that highlights the place of language from a perspective informed by dialogical theories and which also incorporates the aesthetic dimension of subjectivity in the occupational field. By analyzing six narrative interviews, we offer a qualitative insight into how independent musicians subjectively experience their musical activity. We constructed dialogical dimensions associated with four subjective movements in the interviewees’ discourse: aesthetic, activity, authorship, and reflectivity. Our findings about the configuration of musical subjectivity yielded three core points of articulation: musical self, existential self, and musical-occupational self. The musical self emerges as a particular subjective configuration, since creative activity represents a point of vital and occupational grounding where the boundaries between work and subjective experience appear to fade. Employing the aesthetic dimension of subjectivity made it possible to add complexity to the articulation and integration of various subjective elements of a psychological and social nature that have traditionally been studied in isolation.

The TIME, SPACE, and GESTURE in a crossdisciplinary context

In any performance genre, the use of time is a fundamental element that shapes the artistic experience. When artists from different disciplines come together to collaborate on the same material, the perception and utilization of time as an artistic device can undergo significant transformations. This exposition delves into the intricate realm of non-verbal artistic communication between performers from diverse disciplines, with a specific focus on how the actions of one artist can profoundly influence and shape the decisions of another. To explore this dynamic interplay, a compelling case study is presented, examining the enchanting character miniatures for solo piano composed by Alexander Scriabin during the middle and late periods of his life. These exquisite musical pieces are interwoven with the fluidity and spontaneity of contemporary dance improvisation, creating a rich tapestry of artistic expression. Within this crossdisciplinary collaboration, the exposition sheds light on the ephemeral layers of communication that exist between performers. It delves into thought-provoking topics such as the sense of flow, movement, and structure within the work, the role of physical distance between performers and its intricate relationship with the passage of time, the density of content (i.e., musical material) in the context of crossdisciplinary exploration, and the profound significance of gestural communication between artists. Through this crosspollination of ideas and artistic exchange, the potential for profound and transformative artistic impact emerges. In essence, this exposition offers a thought-provoking exploration of the transcendent power of artistic communication between performers from different disciplines.

Aesthetic evaluation of body movements shaped by embodied and arts experience: Insights from behaviour and fNIRS

Aesthetic appreciation of full-body movements is likely shaped by our cumulative bodily experiences, yet most of the extant literature in this domain has focused on expertise and familiarity. We ran two experiments exploring individual differences in embodied experience and experience with the arts: In Study 1, we explored how participants’ (n = 41) abilities to learn a choreography shaped their aesthetic perceptions while viewing learned vs. unknown movements, using functional near-infrared spectroscopy (fNIRS) to measure cortical activation over the Action Observation Network (i.e., inferior frontal gyrus [IFG], inferior parietal lobule, middle temporal gyrus [MTG]). Study 1 demonstrated that embodied experience enhanced ratings of enjoyment, familiarity, and reproducibility of movements, and that individual differences in participants’ performance of the learned choreography were not associated with aesthetic ratings, but rather cortical activation in IFG and right MTG while viewing learned choreography. In Study 2, we combined the behavioural data from Study 1 with data from additional participants (total n = 141) to examine the relationship between arts experience and aesthetic perceptions of movements robustly. Study 2 revealed that previous arts and sports experience correlated with aesthetic judgements of familiarity and reproducibility of movements. Our findings highlight the relevance of examining individual experiences to fill theoretical gaps in our understanding of action aesthetics.

Research on the Aesthetic Experience of Calligraphy Art and the Enhancement of Undergraduate Students' Artistic Literacy

Calligraphy art, as an essential component of traditional Chinese culture, serves as an effective means to enhance the artistic literacy of undergraduate students. Despite its evolution from oracle bone inscriptions to regular, cursive, and semi-cursive scripts, the artistic value and educational function of calligraphy have yet to be fully realized in modern education. This paper explores the aesthetic experience of calligraphy art and its impact on undergraduate students' artistic literacy by analyzing its historical background, core aesthetic characteristics, the aesthetic experience process, and the current status and needs of students' artistic literacy. It proposes specific application strategies for integrating calligraphy art into undergraduate art education. The research shows that calligraphy art not only enhances students' artistic perception and expressiveness but also promotes the comprehensive development of their overall literacy. Future efforts should focus on innovative teaching methods in calligraphy art education and interdisciplinary integration to further enhance educational outcomes and students' artistic literacy.

Artistic Practices in the Anthropocene

This article reviews Western perspectives—in a fruitful dialogue with non-Western perspectives—on the climate emergency and artistic experiences amid the ongoing debate about futures currently at stake in the climate crisis or climate emergency. Moving beyond the various ways of naming this crisis, we focus on how art can communicate, envision, and activate ways of inhabiting this problem, opening communities to an other-than-human coexistence and reconfiguring matters as we understand them in a geological, natural, or material sense. The analyses indicate that, instead of aiming at a singular solution, multiple exercises and imaginative and speculative avenues of narratives can tell different stories and envision alternative futures. If the climate crisis ignited in the Anthropocene is a shared crisis—both political and aesthetic—then art, inseparable from life and hence nature, holds a crucial role in nurturing care and the potency of imagining other possible worlds.

Artistic Interventions in Urban Renewal: Exploring the Social Impact and Contribution of Public Art to Sustainable Urban Development Goals

The aim of this study was to explore the multiple roles of public art in urban renewal and sustainable development goals, combining qualitative and quantitative methods, with an emphasis on community engagement and the application of theoretical frameworks. Through a detailed analysis of public art projects in Teruel, Spain, and Chengdu, China, this study shows how public art plays an important role in enhancing cultural values, promoting social inclusion, and driving economic growth. Qualitative methods such as interviews and content analysis were used to gain in-depth insights into the views and experiences of artists, urban planners, policymakers, and community members. At the same time, quantitative methods such as questionnaires and spatial analysis were used to assess the specific impacts of public art on urban beautification, social inclusion, and economic growth.

Art-based social work experiences in Portugal

ABSTRACT This article intends to reflect on art-based social work by highlighting the perception and involvement in art experiences of professionals in Portugal. It critically analyses the use of art as a process, method and technique that can be conceptualised as a social change approach. An exploratory survey was conducted among professionals belonging to the National Association. The survey used closed and open-ended questions, focused on professionals’ understanding of intervention and social change through art, artistic methodologies, and experiences in under degree and professional practice. The results show a low level of professional involvement with art, and for those who use art seem to have acquired post-graduate training and experience on this aspect. Art is a social change approach, focused on personal, community and sensitive to cultural/racial issues. Art-based social work focuses on freedom, and its usage in interventions is fostered by having training and professional experience.

Utilizing drawings to understand how our backgrounds and experiences change our plant mental models

Societal Impact StatementOur culture, life experiences, and the places we live teach us about the world around us and the plants within it. This information gives each individual distinct mental models. By delving into plant mental models of young adults, this study offers insights into the complex landscape of plant knowledge, with a special emphasis on Indigenous communities. Beyond broadening our understanding, these findings provide valuable resources for educators and researchers striving to bridge the gap in plant literacy. Moreover, the methods used offer a blueprint for similar investigations globally, which will foster a deeper understanding of plant awareness across diverse populations.Summary Plant mental models, or what people think about when they think of a given plant, give insight into a person's knowledge and understanding of plants. However, little to no research has been conducted on plant mental models of young adults or comparing mental models across demographics. This study assessed college students' plant mental models in the demographic categories of race, gender, rurality, and college type (tribal vs. non‐tribal), as well as experience in art, photography, and plant identification, to determine the impact of these factors on plant mental models. A total of 697 students from three tribal and three non‐tribal colleges enrolled in a specific introductory biology course participated. Participants completed four drawings, which represented their mental model of a plant, flower, grass, and tree. They also completed a short survey about demographics and experience with art, photography, and plant identification. Tree drawings had the most detail, and grass drawings had the least. Gender was the only demographic factor that impacted the detail drawn, with females including more detail for flowers and trees and males for grass. Surprisingly, experience with art, photography, and plant identification did not impact the detail included in the drawings. Overall, participants plant mental models across demographics were simplistic and lacked detail, potentially indicating a lack of plant awareness.

A dialogic tricontinental: Niemeyer, Molyvann AND Zevaco

The understanding of modernity as a global and symbiotic event is what justifies this paper. It is global because, as a cultural outgrowth of the Industrial Revolution, it reached all corners of the world more or less connected to the world order, and symbiotic because, despite the hegemonic Eurocentric discourse, we declared the constant feedback of the processes of artistic experimentation that equate all continents’ continents. We will discuss comparatively the work of Oscar Niemeyer (1907-2012), Jean-François Zevaco (1916-2003) and Vann Molyvann (1926-2017) in an essay organized in two sections. The first seeks aspects driven by the reading of the territory, understood as the conjunction of physical and human factors of the place in which architecture develops, pointing out strategies for accepting the vernacular contribution and its interpretation in the light of modern instruments. The second advances on the constructive terms of architects’ thinking, locating structural contextualism as a deliberate plastic action.

Immersive and virtual exhibitions: A reflection on… art?

This paper explores the conceptualization and evolution of virtual exhibitions and immersive art experiences, highlighting their distinctions and similarities. Virtual exhibitions, conducted online or through digital media, offer a platform for showcasing artworks to a global audience without physical constraints. They employ multimedia elements to engage viewers and provide flexibility in exploration. Conversely, immersive art experiences create environments that envelop the viewer, stimulating multiple senses and often incorporating advanced technologies, such as virtual reality and augmented reality. These experiences aim to evoke emotional responses and facilitate active engagement with the artwork. While proponents argue that virtual exhibitions and immersive art experiences democratize access to art and offer new avenues for artistic expression, critics have raised concerns about their impact on authenticity, viewer engagement, and art commercialization. Philosophical and cultural perspectives, including phenomenology and postmodern theory, shed light on the complexities of these art forms and their relationship with reality and simulation. This paper, further, examines the social and business implications of virtual exhibitions and immersive art experiences, noting their growing popularity and influence on the art market. It discusses the viewpoints of artists, critics, and scholars, both supportive and critical, regarding technology’s role in art and its effects on the viewer’s experience. Virtual exhibitions and immersive art experiences represent an evolving landscape in the art world, offering opportunities for innovation and debate. Their impact on the perception and consumption of art remains a subject of ongoing discussion. The paper concludes with a review of successful virtual exhibitions, highlighting their role in expanding access to art and cultural experiences globally.

Effectiveness of VR Technology in the Design of the Bali Megarupa V Virtual Exhibition

Virtual exhibitions offer a promising avenue for art appreciation in the digital age. However, limited research explores how these online spaces can foster emotional connections with art, a crucial aspect of the art experience. This study investigates the potential of immersive virtual reality (VR) to enhance engagement and emotional impact in virtual art exhibitions. Employing a multi-method approach combining literature review, user testing, and prototype development, the research identifies and evaluates design elements contributing to increased user engagement. This research employed a multi-method approach to understand how users engage with virtual art exhibitions. The study identified and evaluated the impact of specific design elements on user engagement by combining a literature review, user testing with a VR prototype, and subsequent analysis. The study focuses on critical elements like interactivity, personalization, storytelling, and multi-sensory experiences. User testing with 55 participants revealed the effectiveness of immersive design in fostering exploration, contemplation, and a sense of presence in the virtual space. This immersive design is the strategic integration of elements like interactivity, personalization, and storytelling within the VR environment. The research underscores the significance of immersive design, defined as the strategic integration of design elements to cultivate an emotional connection within a VR environment. This encompasses aspects like interactivity, personalization, and the incorporation of storytelling within the experience. Finally, the study offers practical recommendations for curators and designers to create virtual art experiences that resonate more deeply with audiences.

Access for the blind in the art setting: tactile paintings as touching experiences?

ABSTRACT The aim of this article is to review the use of tactile resources as accessibility tools for blind museum-goers and to rethink the role of touch to determine what is the less ableist and ocularcentric way to convey an artistic experience to the sightless. In particular, the functions of tactile diagrams and pictures in relief will be first assessed along with the feedback of blind participants about those tools. Second, a reflection on the role of sight and touch in accessing painting and sculpture will be presented. Third, some conclusions are drawn about why two different art forms involve two different senses (sight and touch) and therefore, require two different types of access. Final thoughts point towards a type of accessibility that is not felt as forced, fake, or segregationist, but instead as organic, real, and intimate, likely to create authentic ‘touching’ experiences.

유치원 교육과정 예술관련 영역의 구성, 목표, 내용의 변화 탐색

The purpose of this study is to examine the evolution of the structure, goals, and content in the area of aesthetic art in the kindergarten curriculum by analyzing the respective curricula and guidebooks from the 1st Kindergarten Curriculum (1969) to the 2019 revised Nuri Curriculum. The names and characteristics of the area of aesthetic art have evolved with the demands of the times and educational contexts, transitioning from ‘Art and Music’ to ‘Social and Emotional Development,’ ‘Emotional Development,’ ‘Expressive Life,’ and ‘Art Experience.’ The primary goals of art education have consistently emphasized ‘aesthetic sensibility’ and ‘creativity’ across all curricula, with additional goals such as emotional development, basic skills, and the exploration of artistic elements being incorporated over time. In terms of content, ‘exploration’ was included in the content categories starting from the 6th curriculum. ‘Expression,’ initially focused on music, art, and movement, gradually expanded to encompass literature and dramatic play, eventually emphasizing ‘integrated’ expression from the 6th curriculum onwards. ‘Appreciation’ similarly broadened from traditional art fields to include nature and objects, with a recent focus on fostering an appreciation attitude as a key content area.

Exploring the Role of Art in Community Health Initiatives

This review investigates the intersection of art and community health initiatives, focusing on how art can serve as a tool for health promotion, disease prevention, and rehabilitation. It examines the historical and cultural significance of art in health practices, drawing on both active participatory and passive art experiences. By investigating the biopsychosocial model, the paper highlights how art contributes to individual and collective well-being, reducing stress, fostering social cohesion, and improving mental and physical health. Through case studies and evidence-based research, the paper argues that art plays a crucial role in community health strategies, advocating for greater integration of art into public health policy. Recommendations are offered for expanding interdisciplinary collaborations, increasing funding for arts-based health interventions, and exploring digital opportunities for art in healthcare. Keywords: Art in health, community health initiatives, public health, mental well-being, biopsychosocial model.

Artistic Expertise and Free Viewing of Modern Art

Abstract Visual art and vision science had long been intertwined, both revealing and sharing countless insights on human vision over their respective histories. Deep artistic experiences and extensive artistic knowledge are often associated with “artistic expertise,” which in vision science traditionally echoes visual expertise from other professional domains (e.g., medicine, sports, driving). However, unlike other visual domains, artistic experiences involve more spontaneous and imaginative aspects, and no explicit success parameters. We hypothesized that viewing of artworks would lead to nuanced effects of expertise that may differ from other types of visual expertise. In our study, art experts and non-experts observed modern paintings and were free to view them within a relatively long time window. Higher expertise in art was associated with viewing modern paintings for significantly longer durations, and liking the paintings significantly more. However, contrary to other visual expertise studies, eye movement patterns exhibited little to no effect of artistic expertise. Based on these findings, we suggest a recontextualization of visual artistic expertise and discuss potential research directions, alongside methodological challenges in the experimental design.

Digital Dreams and Dubious Dollars: The Challenge of Immersive Van Gogh

The purpose of this study is to discuss the popularity, questions, and controversies surrounding art-themed digital immersive exhibitions based on the life and paintings of Dutch painter Vincent Van Gogh (1853-1890). Since 2019, art-themed immersive exhibits have become extremely popular, with attendance that outstrips many museums showing the same artists, spawning controversy and challenging the fine art world. This study examines the rise of immersive art experiences, arguments for and against immersive spectacles as a way of experiencing artwork, and theoretical perspectives. Methodologies include research into historical, cultural, and commercial contexts including reviews, analyses, critiques, and participant observation. The study discusses components of the exhibition and presents specific arguments for and against them by producers, art critics, critical theorists, and spectators. Questions considered include: Are these exhibitions offering authentic art experiences, or are they exploiting great art for profit? Are they making art more accessible, or are they leading people away from seeing original paintings? Is the way people relate to art fundamentally changing in the age of social media, and if so, how will museums adjust? This study is novel in that it presents and evaluates diverging viewpoints on these controversies and proposes a more flexible approach that centers participant experiences over marketing claims and critical objections.

Creativity and collaborative performance of artists and STEM professionals

This study examines the relationship between creativity and performance in collaborations between artists and STEM professionals. It investigates the antecedent factors of the creativity of artists and STEM professionals and elaborates on the performance of temporal and imperfect organizational creativity. A survey was administered to 969 Korean artists and STEM professionals, of which data on 131 respondents with experience of art and STEM collaboration were used for the empirical analysis by applying a structural equation model. The results show that an individual's intrinsic motivation, and creative personality characteristic positively influence creativity collaborative performance. Intrinsic motivation and creative personality characteristics positively influenced collaborative performance by the mediation of creativity. Our study contributes to the literature by deepening our understanding of creativity and collaboration between artists and STEM professionals, particularly in temporary and imperfect organizational creativity, which has not been addressed in existing discussions of creativity. This confirms that artists and STEM professionals have common antecedent factors of creativity, and that the coexistence of scientific and artistic creativity has a positive impact on collaborative performance.

The communicationpotential of the book as amass medium in the age of new communication technologies

The specificity of the book results from its dual, diametrically different gist because it is considered an art artifact and a mass medium. On the one hand, it is distinguished by the characteristics defined by media studies, and at the same time -in a different context -it takes an oppositional attitude towards them and tends to the characteristicsof an artistic artifact. We also find the mentioned opposites in the relationship between the book and the audience: due to thewidespectrum of genres, authorial approaches, and production procedures, the book could be perceived by the audience as a unique work of art and simultaneously as a product of mass culture. The communication potential of the book also corresponds to the aspects mentioned above, which essentially remain unchanged. It continues to be/can be a source of new information, knowledge, artistic experiences, entertainment, or relaxation. Still, the advent of new technologies has brought/is bringing a whole spectrum of changes. Thebiggestchange -by the advent of the Internet and smartphones -is the acceleration and simplification of communication in the production, distribution, and sale of booksprocess. These technological changes also significantly affect the mutual relationship between the book and the reading public. The reader is not just a passive recipient of its content and visual component but also an active participant in perception. In the article, we analyzed the specificities of the book as a mass medium in the cultural space, aswell as its communication prerequisites for the reader in the era of new communication technologies. The main aim of the survey was to find out how readers perceive new technologies or how new technologies affect the reading habits associated with book usage.The article has a summarizing character in the theoretical part and an overview in the practical part. It represents an introduction to more detailed research, the results of which will be presented in articles published in other issues of the journal Social Communications –Theory and Practice. We will focus on the book's impact on increasing media literacy and critical thinking among children and youth, as well as on various technologies facilitating the use of the book's potential in the mass media and artistic spheres.Keywords: book, communication technologies, culture, mass media,audience.