Interaction in the artistic knowledge creation process: The case of artists in Finnish Lapland

Hautala, Johanna

doi:10.1016/j.geoforum.2015.01.002

Cited by 25 publications

(20 citation statements)

References 89 publications

(110 reference statements)

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“…The artist’s part in this seems peripheral. Hautala ( 2015 ) strengthens this impression in describing how an artist takes breaks to walk around and view her artworks while hooking them in a museum, following the same routes that she expects the visitors will take, hanging the pieces accordingly. The option to move the walls or change routes is not mentioned.…”

Section: Bodily Engagement: the Perception–action Loopmentioning

confidence: 91%

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

Brinck

2017

Cogn Process

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A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer.

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Section: Bodily Engagement: the Perception–action Loopmentioning

confidence: 91%

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

Brinck

2017

Cogn Process

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“…Second, within one research endeavor we take a look at the preferences of artists who represent diverse artistic disciplines (cf. Bain 2004; Hautala 2015; Hracs 2009). Next, we do not presuppose that “useful” artistic buzz is constrained to its archetypal spaces such as cafés and bars—using qualitative research to find out buzz generating spaces spontaneously appreciated by contemporary artists (taking into account multiple places and spaces likely to be important to artists as advocated by Sjöholm and Pasquinelli (2014)).…”

Section: Reconsidering Assumptions: Research Aims and Designmentioning

confidence: 99%

“…In this context, green spaces might be a substantial element of the creative process as they reduce mental fatigue, enable relaxation, and might be the source of inspiration (Bain 2013; Hautala 2015). Proximity to nature, being tired of a hectic urban life, the wish to be a part of a more closely knit community, nearness of family and friends, and peace and quiet are among reasons for potential migration to smaller towns and rural areas (Andersen 2010; Borggren and Wahlqvist 2010; Działek and Murzyn-Kupisz 2014).…”

Section: Overestimating the Importance Of Buzz?mentioning

confidence: 99%

Immersion in Buzz or Withdrawal to Solitude? Artists’ Creative and Social Strategies in Urban Settings

Murzyn‐Kupisz

Działek

2021

City & Community

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Expectations of bohemian inclinations of artists and their need to immerse in buzz shape the popular image of artistic professionals and often become a point of departure for public policies. The aim of our study, moving beyond preconceived notions on artists’ social and spatial preferences, has been to take a more nuanced look at artists’ attitudes toward buzz and its presence in urban settings. Drawing on the results of a research project conducted in two Polish cities, we have considered to what extent buzz is indeed an important artistic resource in contemporary urban centers and in what locations and types of spaces it is experienced by artists. We have also taken into account artists’ use of the opposite of buzz, that is, silence and solitude, in their urban creative strategies as well as analyzed what factors impact on the diversity of artists’ attitudes, needs, and strategies toward buzz-rich environments. Research findings point to the complexity of artists’ strategies toward buzz which might in turn translate into specific spatial strategies and choices they make within cities.

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“…Similarly, research should be about deeper values. The expression of which provides powerful transcending motivation (Hautula ). Knowing your values in this way counters increasingly common ‘questionable research practices’ (John et al .…”

Section: Harness Valuesmentioning

confidence: 99%

Five lessons from art for better research

Archibald

Clark

2016

Journal of Advanced Nursing

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Interaction in the artistic knowledge creation process: The case of artists in Finnish Lapland

Cited by 25 publications

References 89 publications

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

Immersion in Buzz or Withdrawal to Solitude? Artists’ Creative and Social Strategies in Urban Settings

Five lessons from art for better research

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