Experimental aesthetics
Experimental aesthetics is a field of
Nowadays, psychologists and neuroscientists define the field of aesthetics more narrowly as considering the perception, creation, and evaluation of objects that evoke an intense feeling.
Experimental aesthetics is strongly oriented towards the
Methodology
The analysis of individual experience and behavior based on experimental methods is a central part of experimental aesthetics. In particular, the perception of works of art,[7] music, or modern items such as websites [8] or other IT products[9] is studied. Data can be examined and analyzed at three levels:
- Physiologicallevel
- Phenomenological level (experience)
- Behaviorallevel
Here it is difficult to assign an absolute value to the aesthetics of an object. However, one can measure, for example, what percentage of subjects classify an object as beautiful or how many prefer this object to others.
Depending on the approach, a number of different methods are used in experimental aesthetics, such as pairwise comparisons, rank order methods, Likert scales and semantic differentials, production methods, statistical comparisons of groups, reaction time measurements, and also more complex methods such as eye tracking, electroencephalography, and functional magnetic resonance imaging.
See also
References
- ^ Fechner, G. T. (1860), Elemente der Psychophysik (Elements of psychophysics), Breitkopf & Härtel, Leipzig
- S2CID 16834885.
- ^ Pelowski, M., Markey, P., Forster, M., Gerger, G., & Leder, H. (2017). Move me, astonish me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-up processes in Art Perception (VIMAP) and corresponding affective, evaluative and neurophysiological correlates. Physics of Life Reviews. Available online 27 February 2017, DOI: dx.doi.org/10.1016/j.plrev.2017.02.003
- ^ Martindale, C. (2007), Recent trends in the psychological study of aesthetics, creativity, and the arts. In Empirical Studies of the Arts, 25(2), p. 121-141.
- ^ Kobbert, M. (1986), Psychology of Art (Kunstpsychologie), Wissenschaftliche Buchgesellschaft, Darmstadt
- ^ Thielsch, M. T. (2008), Ästhetik von Websites. Wahrnehmung von Ästhetik und deren Beziehung zu Inhalt, Usability und Persönlichkeitsmerkmalen. ("The aesthetics of websites. Perception of aesthetics and its relation to content, usability, and personality traits."), MV Wissenschaft, Münster
- ^ Hassenzahl, M. (2008), Aesthetics in interactive products: Correlates and consequences of beauty. In H. N. J. Schifferstein & P. Hekkert (Eds.): Product Experience. (pp. 287-302). Elsevier, Amsterdam
Further reading
- Allesch, C. G. (1987), Geschichte der psychologischen Ästhetik. ("History of psychological aesthetics"), Verlag für Psychologie, Göttingen
- Allesch, C. G. (2006), Einführung in die psychologische Ästhetik. ("Introduction to psychological aesthetics"), WUV, Vienna
- Fechner, G. T. (1876), Vorschule der Ästhetik. ("Introduction to aesthetics"), Breitkopf & Härtel, Leipzig
- Kebeck, Günther & Schroll, Henning, Experimentelle Ästhetik ("Experimental aesthetics"), Facultas Verlag, Vienna, ISBN 978-3-8252-3474-4
- Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004), A model of aesthetic appreciation and aesthetic judgements. In British Journal of Psychology, 95, p. 489–508.
- Nadal, M. & Vartanian, O. (Eds.) (2022): "The Oxford Handbook of Empirical Aesthetics". New York NY: Oxford University Press.
- Reber, R., Schwarz, N., & Winkielman, P. (2004), Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience? In Personality and Social Psychology Review, 8, p. 364–382.
- Skov, M. & Nadal, M. (Eds.) (2022): "The Routledge International Handbook of Neuroaesthetics". New York NY: Routledge.