The Enchantment of Art: Abstraction and Empathy from German Romanticism to Expressionism

Morgan, David

doi:10.1353/jhi.1996.0018

Cited by 20 publications

(2 citation statements)

References 18 publications

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“…We may further extend the argument to suggest there is an aspect of 'thingness' to our perception of our world that should be considered when we design virtual environments. Inthenineteenthcentury,empathy theoristsviewedarchitecture aslittlemorethansculpturalobjectsthatwecancreate associationsfor (Morgan, 1996). ThephilosopherAnthonySavileattacked architectRichardFoster'sworkforthesameconceit:treatingtheessenceofarchitectureassculpturalf orm (Savile, 1993).Forathing,beitahammerorabuilding,isnot merelyathreedimensionalobjectfloatinginspace.Architecturealsoinvolvesinteriorspaces,thelinkingofspaces(e. g.,frominner to outer and the converse), and the placing or locating, using and imagining of symbolic objects(aswell as the selfandotherpeople) in space.…”

Section: Sensations Are More Thanaesthetic Experiencesmentioning

confidence: 99%

Experiential realism and digital place-making

Champion

2015

metaverse creativity

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Despite originating as practical aides for the design of real-world architecture, Computer Aided Design and Draughting (CADD) software initially encountered a great deal of resistance, in part because of their initial expense and apparent technical complexity, but also because they were seen as blunt tools, crude instrumentation inadequate for the artistic expression of place. In March 2004 at an informal seminar hosted at the University of Melbourne in Australia, the eminent scholar Professor Marco Frascari argued computer reconstructions of architecture were far too exact and thus too limited in conveying the mood and atmosphere of architecture.With all due respect to Professor Frascari, this article will argue the converse: that recent developments in interactive technology offer new and exciting ways of conveying 'lived' and experientially deepened notions of architectural place-making.

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Section: Sensations Are More Thanaesthetic Experiencesmentioning

confidence: 99%

Experiential realism and digital place-making

Champion

2015

metaverse creativity

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“…For example, in the nineteenth and twentieth century, empathy theorists viewed architecture as little more than sculptural objects that we can create associations for, according to Malgrave and Ikonomou [2], Leech [3], Neumann [4] and Morgan [5]. In a similar manner but much more recently, the philosopher Anthony Savile [6] attacked Richard Foster's work: treating the essence of architecture as sculptural form.…”

Section: Introductionmentioning

confidence: 99%

Biofeedback and Virtual Environments

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Dekker

2011

International Journal of Architectural Computing

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This paper explains potential benefits of indirect biofeedback used within interactive virtual environments, and reflects on an earlier study that allowed for the dynamic modification of a virtual environment's graphic shaders, music and artificial intelligence, based on the biofeedback of the player. The aim was to determine which augmented effects aided or discouraged engagement in the game. Conversely, biofeedback can help calm down rather than stress participants, and attune them to different ways of interacting within a virtual environment. Other advantages of indirect biofeedback might include increased personalization, thematic object creation, atmospheric augmentation, filtering of information, and tracking of participants' understanding and engagement. Such features may help designers create more intuitive virtual environments with more thematically appropriate interaction while reducing cognitive loading on the participants. Another benefit would be more engaged clients with a better understanding of the richness and complexity of a digital environment.

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Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy

Lanzoni¹

2009

J History Behavioral Science

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Late nineteenth-century psychologists and aestheticians were fascinated by the study of psychological and physiological aspects of aesthetic response, and the British intellectual and aesthete Vernon Lee was a major participant in this venture. Working outside the academy, Lee conducted informal experiments with Clementina Anstruther-Thomson, recording changes in respiration, balance, emotion, and body movements in response to aesthetic form. In fashioning her aesthetics of empathy, she mined a wealth of psychological theories of the period including motor theories of mind, physiological theories of emotion, evolutionary models of the usefulness of art, and, most prominently, the empathic projection of feeling and movement into form. Lee distributed questionnaires, contributed to scientific journals, carried out her own introspective studies, and debated aesthetics with leading psychologists. This paper critiques the prevailing view of Lee's aesthetics as a displaced sign of her gender or sexuality, and questions her status as simply an amateur in the field of psychology. Instead, I argue that Lee's empirically based empathy theory of art was a significant contribution to debates on psychological aesthetics at the outset of the twentieth century, offering a synthesis of Lipps's mentalistic Einfühlung and sensation-based imitation theories of aesthetic response.

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The Enchantment of Art: Abstraction and Empathy from German Romanticism to Expressionism

Cited by 20 publications

References 18 publications

Experiential realism and digital place-making

Experiential realism and digital place-making

Biofeedback and Virtual Environments

Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy

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