Stephan Witasek Und Die Psychologische Ästhetik

Allesch, Christian

doi:10.1515/9783110324600.113

Cited by 17 publications

(24 citation statements)

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“…This is not the proper place and occasion to review the complete field of research in experimental psycho-aesthetics (for more background, see Allesch 2006; Jacobsen 2006), but it may be useful to sketch a few dimensions along which studies tend to differ (Crozier 1994). …”

Section: Experimental Psycho-aesthetics: a Personal Overviewmentioning

confidence: 99%

Towards a New Kind of Experimental Psycho-Aesthetics? Reflections on the Parallellepipeda Project

Wagemans

2011

i-Perception

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Experimental psycho-aesthetics—the science aimed at understanding the factors that determine aesthetic experience—is reviewed briefly as background to describe the Parallellepipeda project, a cross-over project between artists and scientists in Leuven. In particular, I sketch how it started and developed further, with close interactions between the participating artists and scientists. A few examples of specific research projects are mentioned to illustrate the kind of research questions we address and the methodological approach we have taken. We often found an effect of providing participants with additional information, a difference between novice and expert participants, and a shift with increasing experience with an artwork, in the direction of tolerating more complexity and acquiring more order from it. By establishing more connections between parts of an artwork and more associations to the artwork, it becomes a stronger Gestalt, which is more easily mastered by the viewer and leads to increased appreciation. In the final part of the paper, I extract some general lessons from the project regarding a possible new way of doing psycho-aesthetics research, which is able to solve some of the problems of traditional experimental psycho-aesthetics (eg, trade-off between experimental control and ecological validity).

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Section: Experimental Psycho-aesthetics: a Personal Overviewmentioning

confidence: 99%

Towards a New Kind of Experimental Psycho-Aesthetics? Reflections on the Parallellepipeda Project

Wagemans

2011

i-Perception

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“…Nonetheless, since the beginning of experimental psychology, attempts have been made to find general laws, such as those guiding preference for proportions or color, to understand the formation of aesthetic preferences (Eechner, 1876). Eor example, Fechner discussed color association as a candidate for determining aesthetic preferences, and by studying people's responses to the "golden section," he demonstrated how empirical aesthetics would contribute to thriving debates over the laws of beauty; he was also the first to study aesthetic responses of museum visitors to artworks (Fechner, 1876; see Allesch, 2006).…”

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confidence: 99%

See me, feel me! Aesthetic evaluations of art portraits.

Leder¹,

Ring²,

Dreßler³

2013

Psychology of Aesthetics, Creativity, and the Arts

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Aesthetic experiences comprise aesthetic emotions as well as those cognitive states that are reflected in judgments of aesthetic liking (Leder, Belke, Oeberst, & Augustin, 2004). In Study 1, we examined whether aesthetic liking and emotional valence of artistic portraits are influenced in different ways by several factors. We analyzed ratings given to more than 400 portraits. Participants were asked to rate the likability of the depicted person, an evaluation of the portrait's style, elicited arousal, interestingness, emotional valence, aesthetic liking, and familiarity. Likability showed particulariy strong effects on liking and emotional valence. Study 2 further explored differences in the determinants of art appreciation through levels of expertise; art experts showed enhanced aesthetic pleasure and style appreciation turned out to be particularly important. For nonexperts, likability and style had similar influence. To differentiate the effects of style and content more directly, in Study 3 we asked for an explicit subjective weight of how much style and content affected aesthetic liking for each portrait. Results showed that style was more important. Thus, as expected from psychological theories of aesthetic experiences, both content and appreciation of the artists' style represented distinct influential dimensions of aesthetic experiences.

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“…(p. 9) Thus, already in the 1920s, physiological methods were discussed in the analysis of aesthetic experience. But technically they were only rudimentarily developed and therefore had little impact on experimental psychology (Allesch, 2006). On the basis of contemporary technology, however, data acquisition has become more reliable and even currently allows for the combining of position tracking with permanent physiological measurements in the field, as was shown in the aforementioned methods of cartography.…”

Section: Discussionmentioning

confidence: 99%

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

Tröndle

Greenwood²,

Kirchberg

et al. 2012

Environment and Behavior

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In the interdisciplinary context of the Swiss National Research Project eMotion-mapping museum experience, an integrative methodology for visitor research was developed. The goal was to investigate aesthetic experiences in the environment of a fine-arts museum. The methodology and technical setup merged different data levels (movement tracking data, heart rate and skin conductance, sociological variables, emotional and aesthetic evaluations of specific artworks) into one integrated data set. The merging was achieved online with high spatial and temporal resolution, using data gloves and a wireless network. This Article at UNIV OF MICHIGAN on February 20, 2015 eab.sagepub.com Downloaded from Tröndle et al. 103data set was used to generate information cartographies of visitors, visualizing their spatial behavior and physiological responses in the environment. In a field study with 576 museum visitors, the methodology was successfully implemented. Significant associations between physiology and aesthetic evaluations supported the validity of the cartographic representations; participants reported little reactivity toward the technical equipment. This methodology appears feasible for environmental behavior research in general.

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Stephan Witasek Und Die Psychologische Ästhetik

Cited by 17 publications

References 0 publications

Towards a New Kind of Experimental Psycho-Aesthetics? Reflections on the Parallellepipeda Project

Towards a New Kind of Experimental Psycho-Aesthetics? Reflections on the Parallellepipeda Project

See me, feel me! Aesthetic evaluations of art portraits.

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

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