An Integrative and Comprehensive Methodology for Studying Aesthetic Experience in the Field

Tröndle, Martin; Greenwood, Steven; Kirchberg, Volker; Tschacher, Wolfgang

doi:10.1177/0013916512453839

Cited by 54 publications

(33 citation statements)

References 22 publications

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“…Finally, characteristics of the presentation context include physical and cultural aspects of the museum, display/hanging, frame, lighting, art labels, furniture, movement, viewing distance, viewing time and museum fatigue. While all of these factors might be contributing to differences between art experience in museum and other contexts, to date, the majority of them have remained underexplored (Bitgood et al, 2013;Minissale, 2013;Tröndle et al, 2014;Carbon, 2017).…”

Section: What Causes Difference In Art Experience and Viewing Patternmentioning

confidence: 99%

Viewing Art in Different Contexts

et al. 2020

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While aesthetic experiences are not limited to any particular context, their sensorial, cognitive and behavioral properties can be profoundly affected by the circumstances in which they occur. Given the ubiquitous nature of contextual effects in nearly all aspects of behavior, investigations aimed at delineating the context-dependent and contextindependent aspects of aesthetic experience and engagement with aesthetic objects in a diverse range of settings are important in empirical aesthetics. Here, we analyze the viewing behavior of visitors (N = 19) freely viewing 15 paintings in the 20th-century Australian collection room at the Art Gallery of New South Wales. In particular, we focus on how aspects of viewing behavior including viewing distance in the gallery condition and eye gaze measures such as fixation count, total fixation duration and average fixation duration are affected by the artworks' physical characteristics including size and image statistics properties such as Fourier amplitude spectrum, fractal dimension and entropy. In addition, the same artworks were viewed in the laboratory, either scaled to fit most of the screen (N = 22) or to preserve their relative size as in the museum condition (N = 17) to assess the robustness of these relationships across different presentation contexts. We find that the effects of presentation context are modulated by the artworks' physical characteristics.

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Section: What Causes Difference In Art Experience and Viewing Patternmentioning

confidence: 99%

Viewing Art in Different Contexts

et al. 2020

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“…In 2012, the project "eMotion" was funded by the Swiss National Science Foundation, and data from 576 users was collected by Tröndle during their visit to an exhibition. Measurements included Heart Rate Variability (HRV) and Skin Conductance Levels (SCLs) [22]. Unlike Tröndle, Saarinen allowed users to be involved in the project rather than simply being observed and measured objects [23].…”

Section: Methods Of Studying Exhibition Designmentioning

confidence: 99%

Enhancing User Experience to Design Enjoyable Exhibition Events

Wang

2015

Proceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems

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Around 31,000 exhibitions are held around the world annually, and about 260 million people visit exhibitions every year [1]. Although China has become the country with the second largest exhibition space in the worldbase exhibition design lacks a scientific and reliable knowledge to guide the design of exhibitions and improve user experience. BackgroundExhibition3design. In broad terms, exhibition design includes exhibitions, museums, shopping centers, recreational centers and visitor centers [5]. Locker [4] and Hughes [2] define exhibition design as a toolbox of communication and storytelling making user experiences more delightful and memorable. User3experience. While there is no cohesive consensus on the meaning of user experience [6], it is defined from the perspective of usability [7] to address implicit and explicit issues such as emotions [8], social and cultural factors [9], context [9, 10].Enjoyable3design. The term "Enjoyable" was mentioned by Locker [4], who asserted that enjoyable means that a user could experience the emotion of delight or happiness in a context of exhibition; however, there are no cohesive theories about enjoyable design in exhibitions, as it is associated with a wide range of meanings such as delight [11] and pleasure [12]. AbstractThis proposal introduces research which is trying to bridge the gap between Computer Human Interaction (CHI) research and Exhibition Design studies through an investigation of how to design enjoyable exhibition events for audiences in China.

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“…More advanced methods have introduced automatic user tracking, partly combined with continuous recording of physiological measures such as skin conductance and heart rate in order to determine intensity of emotional and cognitive reactions across an exhibition (Tr€ ondle, Greenwood, Kirchberg, & Tschacher, 2014). But at least in the case of showcases containing sets of exhibits, traditional observation methods reach their limits, as Study 1 has demonstrated: While visitor tracking is feasible for exhibitions presenting spatially separated objects (such as paintings in an art museum or interactive stations in a science center), it not only lacks sufficient resolution for discrimination between objects that are presented as ensembles in display cabinets, but also does not allow for investigating whether visitors access additional information and explanations, either by reading labels and placards or by using audioguides or mobile guides.…”

Section: Studymentioning

confidence: 99%