The functional role of emotions in aesthetic judgment

Xenakis, Ioannis; Arnellos, Argyris; Darzentas, John

doi:10.1016/j.newideapsych.2011.09.003

Cited by 32 publications

(18 citation statements)

References 53 publications

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“…Our findings suggest that bringing in artistic research practices into transdisciplinary research can be helpful to uncover a deep emotional connection to landscapes, benefitting from the fact that art can be a catalyst for human emotions ("elicitation of aesthetical emotional meanings" [29]). We are convinced that the depth and honesty of complex (and contradictory) emotions and their connections to nature could not have been elicited with conventional research methods.…”

Section: Discussionmentioning

confidence: 94%

“…The results showed a spectrum of concerns and responses that highlight the complexity of emotions that are rarely uncovered by conventional research methods. In general, emotions can fulfil a central functional role in the cognitive processes and can have a strong effect on peoples' behaviour [29,30]. Emotions can be understood as a filter through which factual knowledge is understood.…”

Section: Discussionmentioning

confidence: 99%

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Stories of Favourite Places in Public Spaces: Emotional Responses to Landscape Change

Riechers

Henkel²,

Engbers

et al. 2019

Sustainability

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Understanding emotions is necessary to analyse underlying motivations, values and drivers for behaviours. In landscapes that are rapidly changing, for example, due to land conversion for intensive agriculture, a sense of powerlessness of the inhabitants can be common, which may negatively influence their emotional bond to the landscape they are living in. To uncover varied emotional responses towards landscape change we used an innovative approach that combined transdisciplinary and artistic research in an intensively farmed landscape in Germany. In this project, we focused on the topic of favourite places in public spaces, and how change in such places was experienced. Drawing on workshops and interviews, we identified themes of externally driven societal and internal personal influences on the public favourite places. “Resilient” emotional responses towards landscape change showed a will to integrate the modifications, while “non-resilient” responses were characterised by frustration and despair. We argue that identifying emotions towards change can be valuable to strengthen adaptive capacity and to foster sustainability.

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Section: Discussionmentioning

confidence: 94%

Section: Discussionmentioning

confidence: 99%

Stories of Favourite Places in Public Spaces: Emotional Responses to Landscape Change

Riechers

Henkel²,

Engbers

et al. 2019

Sustainability

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“…They form perceptual contents that allow the agent to anticipate a reward from the execution of their interaction plans. In contrast, emotions with negative values are associated with indications that correspond to interaction failure, in the sense that they are elicited when the agent anticipates problems with the satisfaction of its norms (the agent is doing worse than it needs to; Pugh, 1979; Carver, 2001; Prinz, 2011; Xenakis et al, 2012). …”

Section: Aesthetic Perception In the Context Of Interactivism And Embmentioning

confidence: 99%

Aesthetic perception and its minimal content: a naturalistic perspective

Xenakis

Arnellos

2014

Front. Psychol.

Self Cite

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Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under which aesthetic perception occurs, and what constitutes the content of these perceptions. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions (what we call “interactive affordances”), we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction. This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction.

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“…Despite that there are arguments that aesthetic perception combines senses, science and the experience of beauty in neural systems that determine pleasure [9]. Based on these arguments attempts of measuring aesthetics were made both from theoretical and empirical perspectives.…”

Section: Related Workmentioning

confidence: 99%

“…Theoretical models such as Birkhoff aesthetic measures, Klinger and Salingaros aesthetic measure and informational aesthetic measures informed the influence of harmony, symmetry or order of the aesthetic forms which implies that the complexity and disorder in the forms create an unpleasant response from the viewer [10]. Aesthetic judgment has also been explained through neurological explanatory model where aesthetic is shown to be a function of an evaluation process which implies that habitual aesthetic evaluation may affect the process of aesthetic evaluation [9]. Empirically the value of aesthetic forms is most apparent on the effect of the users as seen through the affective priming paradigm [11] that leads the empirical measurement of emotion to make aesthetic judgement [12].…”

Section: Related Workmentioning

confidence: 99%

Evaluation of Graceful Movement in Virtual Fitting through Expressed Emotional Response and Emotion Expressed via Physiology Measures

Adnan

Noor

Saman

et al. 2014

Human-Computer Interaction. Advanced Interaction Modalities and Techniques

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Graceful interaction is a form of interaction that incorporates quality movement that can invoke the emotional appeal of users engaged with it. However method of evaluation of the quality graceful interaction has not been discussed. As we argue that graceful interaction can evoke emotion, we explore the use of possible instruments to evaluate graceful interaction based on the valence-arousal model. To measure emotional response of arousal the response is using verbal and non-verbal instruments. The former is based on self-report emotions and the later through autonomic measures of emotion via bio-physical measures of skin conductance. We conducted an experiment with six participants who were given the tasks to perform movement tasks in virtual fitting using three different virtual fitting room (VFR) applications available on ecommerce fashion retailing websites. The selection of the VFR applications was based on the presence of two identified graceful interaction design elements, which are tempo and sequence as prescribed by the graceful interaction design model. While performing the tasks, each participant's physiology measure of emotional response was recorded using the tool BioGraph Infiniti. Upon completion, the participants were requested to report their emotional response in an instrument constructed based on the valence arousal model. Finally each participant was also interviewed to state the VFR applications they preferred. The analysis of each type emotional response were made and the findings showed the congruence between the verbally expressed emotional response and physiology measure of emotional response in performing graceful interaction tasks. This suggests that the evaluation of graceful interaction can be made by the use of verbally and non-verbally expressed emotional respond instruments.

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The functional role of emotions in aesthetic judgment

Cited by 32 publications

References 53 publications

Stories of Favourite Places in Public Spaces: Emotional Responses to Landscape Change

Stories of Favourite Places in Public Spaces: Emotional Responses to Landscape Change

Aesthetic perception and its minimal content: a naturalistic perspective

Evaluation of Graceful Movement in Virtual Fitting through Expressed Emotional Response and Emotion Expressed via Physiology Measures

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