Parameters of Aesthetic Objects: Applied Aesthetics

Woods, Walter A.

doi:10.2190/7d3x-03g1-aguv-w417

Cited by 11 publications

(4 citation statements)

References 6 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Any work of art can be decomposed into its early, intermediate, and late vision components. Aesthetic perception can distinguish between form and content (e.g., Woods, 1991;Russell & George, 1990), a distinction demonstrated experimentally (Ishai, Fairhall, & Pepperell, 2007). Similarly, scientists observe that form is processed by early and intermediate vision, whereas content is processed by later vision.…”

Section: Experimental Neuroaesthetics Frameworkmentioning

confidence: 96%

Neuroaesthetics: A Coming of Age Story

Chatterjee¹

2011

Journal of Cognitive Neuroscience

296

230

View full text Add to dashboard Cite

Neuroaesthetics is gaining momentum. At this early juncture, it is worth taking stock of where the field is and what lies ahead. Here, I review writings that fall under the rubric of neuroaesthetics. These writings include discussions of the parallel organizational principles of the brain and the intent and practices of artists, the description of informative anecdotes, and the emergence of experimental neuroaesthetics. I then suggest a few areas within neuroaesthetics that might be pursued profitably. Finally, I raise some challenges for the field. These challenges are not unique to neuroaesthetics. As neuroaesthetics comes of age, it might take advantage of the lessons learned from more mature domains of inquiry within cognitive neuroscience. Disciplines Medicine and Health Sciences CommentsThis journal article is available at ScholarlyCommons: http://repository.upenn.edu/neuroethics_pubs/58Neuroaesthetics: A Coming of Age Story Anjan Chatterjee Abstract ■ Neuroaesthetics is gaining momentum. At this early juncture, it is worth taking stock of where the field is and what lies ahead. Here, I review writings that fall under the rubric of neuroaesthetics. These writings include discussions of the parallel organizational principles of the brain and the intent and practices of artists, the description of informative anecdotes, and the emergence of experimental neuroaesthetics. I then suggest a few areas within neuroaesthetics that might be pursued profitably. Finally, I raise some challenges for the field. These challenges are not unique to neuroaesthetics. As neuroaesthetics comes of age, it might take advantage of the lessons learned from more mature domains of inquiry within cognitive neuroscience. ■

show abstract

Section: Experimental Neuroaesthetics Frameworkmentioning

confidence: 96%

Neuroaesthetics: A Coming of Age Story

Chatterjee¹

2011

Journal of Cognitive Neuroscience

296

230

View full text Add to dashboard Cite

show abstract

“…We designed the AAA keeping in mind the need for componential analysis and quantification in the neuropsychology of art. The AAA is based on the widely held assumption that artworks have formal-perceptual qualities and content-conceptual qualities (Russell and George, 1990 ; Woods, 1991 ). We selected six formal-perceptual attributes and six content-conceptual attributes based on a review of the literature with special consideration to the kinds of attributes thought to have changed in individuals with brain damage.…”

Section: Introductionmentioning

confidence: 99%

The Right Hemisphere in Esthetic Perception

Bromberger¹,

Sternschein²,

Widick³

et al. 2011

Front. Hum. Neurosci.

View full text Add to dashboard Cite

Little about the neuropsychology of art perception and evaluation is known. Most neuropsychological approaches to art have focused on art production and have been anecdotal and qualitative. The field is in desperate need of quantitative methods if it is to advance. Here, we combine a quantitative approach to the assessment of art with modern voxel-lesion-symptom-mapping methods to determine brain–behavior relationships in art perception. We hypothesized that perception of different attributes of art are likely to be disrupted by damage to different regions of the brain. Twenty participants with right hemisphere damage were given the Assessment of Art Attributes, which is designed to quantify judgments of descriptive attributes of visual art. Each participant rated 24 paintings on 6 conceptual attributes (depictive accuracy, abstractness, emotion, symbolism, realism, and animacy) and 6 perceptual attributes (depth, color temperature, color saturation, balance, stroke, and simplicity) and their interest in and preference for these paintings. Deviation scores were obtained for each brain-damaged participant for each attribute based on correlations with group average ratings from 30 age-matched healthy participants. Right hemisphere damage affected participants’ judgments of abstractness, accuracy, and stroke quality. Damage to areas within different parts of the frontal parietal and lateral temporal cortices produced deviation in judgments in four of six conceptual attributes (abstractness, symbolism, realism, and animacy). Of the formal attributes, only depth was affected by inferior prefrontal damage. No areas of brain damage were associated with deviations in interestingness or preference judgments. The perception of conceptual and formal attributes in artwork may in part dissociate from each other and from evaluative judgments. More generally, this approach demonstrates the feasibility of quantitative approaches to the neuropsychology of art.

show abstract

“…We further speculated that the results of preference selection of style can promote the understanding of mental differences between different groups. Style can be described as the arousal feature of aesthetic objects, including form and content, which are the two basic aspects that constitute the aesthetic object (Woods, 1991). However, some scholars have replaced the word “form” with “style” (Leder et al, 2004) which is actually a summation of diverse forms, while content refers to the subject matter that can be subjectively interpreted by a perceiver (Aldrich, 1994), and often comes with the term of object or theme.…”

Section: Methodsmentioning

confidence: 99%

An Aesthetic Model for Popular Illustration

Lin¹

2022

Empirical Studies of the Arts

View full text Add to dashboard Cite

Although the aesthetic experience of popular illustrations is frequent in modern life, no scientific research can fully explain its psychological structure so far. This study aims to develop an aesthetic model of perception, affection, and cognition, presenting an aesthetic psychological framework for contemporary popular illustration. Thirty representative illustrations were selected as experimental stimuli from design media, and a seven-point scale with 10 paired adjectives of underlying psychological factors was built by analyzing systematic aesthetic researches by literature review. A total of 386 volunteers were recruited for the experimental survey. Confirmatory factor analysis (CFA) through structural equation modeling (SEM) was used to confirm the proposed model. The results showed that beauty, pleasure, and interestingness are the optimum indicators measuring the aesthetic experience of popular illustrations, and instead of the underlying meanings, the positive self-rewarding quality makes aesthetic experience of popular illustrations special.

show abstract

Parameters of Aesthetic Objects: Applied Aesthetics

Cited by 11 publications

References 6 publications

Neuroaesthetics: A Coming of Age Story

Neuroaesthetics: A Coming of Age Story

The Right Hemisphere in Esthetic Perception

An Aesthetic Model for Popular Illustration

Contact Info

Product

Resources

About