Experimental aesthetics

Source: Wikipedia, the free encyclopedia.

Experimental aesthetics is a field of

object. Experimental aesthetics is the second oldest research area in psychology, psychophysics being the only field which is older.[1] In his central work Introduction to Aesthetics (Vorschule der Ästhetik) Fechner describes his empirical approach extensively and in detail. Experimental aesthetics is characterized by a subject-based, inductive
approach.

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.

causal hypotheses. In contrast, empirical aesthetics also embraces survey studies, field observations, and other non-experimental methods. The field has developed significantly over the past few decades. On the one hand, through the continuous development of cognitive and emotional models of the description of aesthetic experience,[3][4] taking into account various psychological variables. On the other hand, through refined laboratory experiments, concerning specific questions but also diverse attempts to research aesthetic experiences in contexts that are typical for them, such as museums [5]
).

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:

  1. Physiological
    level
  2. Phenomenological level (experience)
  3. Behavioral
    level

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

  1. ^ Fechner, G. T. (1860), Elemente der Psychophysik (Elements of psychophysics), Breitkopf & Härtel, Leipzig
  2. S2CID 16834885
    .
  3. ^ 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
  4. ^ 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.
  5. ^ Kobbert, M. (1986), Psychology of Art (Kunstpsychologie), Wissenschaftliche Buchgesellschaft, Darmstadt
  6. ^ 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
  7. ^ 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

External links