The Radical Embodied Experience of Abstract Art: An Exploratory Study

Abstract

Postural control of people looking at paintings of distinct artistic styles (Mondriaan’s neoplasticism and Pollock’s action painting; Experiment 1) was analyzed, as well as within a more diverse set of 20th-century abstract paintings (Experiment 2). Secondly, we explored the relation between postural control, emotional states of movement (moved by, drawn towards) and aesthetic appreciation (complexity, beauty, quality), in both experiments. Results revealed differences in postural control in Experiment 1, most notably more dynamically complex body sway for Pollocks, which did not generalize to the broader range of paintings in Experiment 2. More variable, dynamically stable, complex and intermittent postural sway was found, however, comparing a subset of high-motion and low-motion paintings. Emotional states of movement and aesthetic appreciation were associated to postural control, both across paintings and across persons in several ways. Together these findings provide preliminary empirical evidence for an embodied art experience.

How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

“…The full corpus of our findings also suggests against certain arguments-such as the "stopping for knowledge" hypotheses (Sarasso et al, 2020)-that had proposed that these responses might require absence of movement. Rather, we find just the opposite (see also Cox & van Klaveren, 2022;van Klaveren et al, 2019 for similar results). The technique itself is also a promising start for future studies to move beyond even individual aspects and systematically assess trajectories and their implications for experience.…”

“…Embodiment also goes beyond physical movement. For example, changes in posture and body sway might be considered (Cox & van Klaveren, 2022; Kapoula, Adenis, Lê, Yang, & Lipede, 2011). Emotions too might more fully be considered, especially how certain movement patterns relate to specific emotional responses (Fingerhut & Prinz, 2018, 2020).…”

“…Thus, moving more (e.g., c2 ), or in specific ways ( c3 ), may relate to reported feelings during engagement (see also approach/avoidance above). Cox and van Klaveren (2022) also found difference in body sway patterns between painting types or different types of formal features (Pollock vs. Mondrian); large paintings, for example, may also invite or necessitate more movement to view all parts and thus relate to appreciation (Pelowski et al, 2017).…”

“…Artworks have been shown to evoke more feelings of the sublime when participants were in higher states of physical arousal versus low arousal/sitting (Eskine, Kacinik, & Prinz, 2012). Cox and van Klaveren (2022) found that reported "being moved" when viewing abstract art (while standing on a balance-board) positively correlated with postural sway in both front-back and side-side directions. Thus, moving more (e.g., c2), or in specific ways (c3), may relate to reported feelings during engagement (see also approach/avoidance above).…”

“…"Art standing still/transfixed = more beauty, wonder, powerful emotion (Sarasso et al, 2020), more arousal, sublime, awe (Eskine et al, 2012); more movement = less being moved (for sway Cox & van Klaveren, 2022) c3. Individuals may show specific or shared aspects of movement, which may relate to specific varieties of experience?…”