Aesthetic perception and its minimal content: a naturalistic perspective

Why art? The role of arts in arts and health

This article is an answer to a report called "What is the evidence on the role of the arts in improving health and well-being?" The authors conclude that the arts have an impact on mental and physical health. Yet, the question of the role of the arts remains unanswered. What is and what is not an art effect? Recently, embodied theory has inspired articles on the perception of art. These articles have not yet received attention in the field of Arts and Health. Scholars in psychosomatic medicine have argued for an approach based on recent work in enactive embodied theory to investigate the connection between the body and the mind. The present article examines how key concepts in this theory relate to art. This leads to a discussion of art in terms of empathy-the relation between the internal state of the artist and the internal state of the beholder. I exemplify with a conceptual framework of musical empathy. Implications for health are addressed.

Wearing face masks impairs dyadic micro-activities in nonverbal social encounter: A mixed-methods first-person study on the sense of I and Thou

The COVID-19 pandemic has manifold negative consequences for people around the world, of which the psychosocial ones have been rather underrepresented in the public eye. Regarding social distancing measures, there is already some experimental work demonstrating that the use of face masks has detrimental effects on various aspects of social cognition such as emotion reading, face identification, and perceived closeness of persons. However, while these findings provide important clues, they do not shed light on what people experience when interacting in real life in a masked society. Therefore, in critical distance to cognitivist accounts and taking Direct Social Perception (DSP) approaches seriously, we developed a first-person experimental design and conducted a study with thirty-four participants in a dyadic setting with two conditions (without vs. with face mask). Data were analyzed with mixed methods including in-depth qualitative coding at three levels, code relations analyses, and various statistical tests. Results yielded significant differences across conditions at all qualitative levels, comprising, for example, expressive behavior, and, in particular, significant decreases of content-independent, complimentary mental micro-activities. In the context of DSP, we argue in the paper that these activities suggest the constitution of a quasi-sensory modality - conceived as I-Thou sense - that oscillates between strongly and weakly embodied mental activities, as the analyses show. In sum, this study suggests that mask-wearing impairs both functional directions of mental activity in relation to more or less embodied experience and thus intervenes deeply in fundamental processes of social perception and interaction.

School climate's effect on hospitality department students' aesthetic experience, professional identity and innovative behavior

This study investigated the effects of school climate and students' aesthetic experience on their professional identity and innovative behavior. A survey was conducted with 385 students from hospitality-related departments of colleges and universities in Hainan, China, and the data were analyzed using a hierarchical linear model (HLM). Using the criteria constituting the students' aesthetic experience scale proposed by Chang, it was found that teacher support can improve students' professional identity; school climate and students' understanding of beauty and full experience contribute to the development of students' innovative behavior; students' understanding of beauty and full experience have mediating effects between teacher support and professional cognition; students' understanding of beauty and full experience have mediating effects between student support and innovative behavior; student support positively moderates the relationships between full experience with professional cognition and students' appraisal of the hospitality industry; and teacher support positively moderates the relationship between students' full experience and professional emotion. Therefore, teacher support under school climate and students' understanding of beauty and full experience under aesthetic experience were the most important factors in enhancing hospitality department students' professional identity and innovative behavior.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Exploring Destination Choice Intention by Using the Tourism Photographic: From the Perspectives of Visual Esthetic Processing

This study aims to deepen the understanding of tourism photography by developing and testing a theoretical model that accounts for the relationships between visual esthetics and destination choice intention of tourists. Thus, we sought to use a stimulus-organism-response (S-O-R) paradigm to predict destination choice intention, which includes three variables related to visual esthetics: first impression, visual appeal, and esthetic emotion. We used the combination of self-reported and eye movement data to examine the cognitive processes of tourists that visual esthetic formation. We found that compared to the built environment and amateur esthetic images, natural environment and professional esthetic images can get (1) higher visual appeal, (2) better first impression, and (3) higher visual processing fluency (or less cognitive effort) and positive esthetic emotions. Furthermore, visual appeal, first impression, and esthetic emotion deriving from environment esthetics and photograph esthetics have a positive impact on destination choice intention. This study has practical implications for destination planning and management.

On Approximate Aesthetic Curves

Symmetry plays an essential role for generating aesthetic forms. The curve is the basic element used by designers to obtain aesthetic forms. A curve with a linear logarithmic curvature graph gradient is called aesthetic curve. The aesthetic value of a curve increases when its gradient is close to a straight line. We introduce the notions of approximate aesthetic curves and approximate neutral curves and obtain estimations between the curvature of an approximate aesthetic/neutral curve and an aesthetic curve.

Simple Aesthetic Sense and Addiction Emerge in Neural Relations of Cost-Benefit Decision in Foraging

A rudimentary aesthetic sense is found in the stimulus valuations and cost-benefit decisions made by primitive generalist foragers. These are based on factors governing personal economic decisions: incentive, appetite, and learning. We find that the addictive process is an extreme expression of aesthetic dynamics. An interactive, agent-based model, ASIMOV, reproduces a simple aesthetic sense from known neural relations of cost-benefit decision in foraging. In the presence of very high reward, an addiction-like process emerges. A drug-like prey provides extreme reward with no nutritive value, initiating high selectivity and prolonged cravings for drug through reward learning. Varying reward experience, caused by homeostatic changes in the neural circuitry of reward, further establishes the course of addiction, consisting of desensitization, withdrawal, resensitization, and associated changes in nutritional choice and pain sensitivity. These observations are consistent with the early evolution of addiction mechanisms in simple generalist foragers as an aesthetic sense for evaluating prey. ASIMOV is accessible to inspection, modification, and experiment, is adaptable as an educational tool, and provides insight on the possible coevolutionary origins of aesthetics and the addiction process.

Aesthetic Experiences Across Cultures: Neural Correlates When Viewing Traditional Eastern or Western Landscape Paintings

Compared with traditional Western landscape paintings, Chinese traditional landscape paintings usually apply a reversed-geometric perspective and concentrate more on contextual information. Using functional magnetic resonance imaging (fMRI), we discovered an intracultural bias in the aesthetic appreciation of Western and Eastern traditional landscape paintings in European and Chinese participants. When viewing Western and Eastern landscape paintings in an fMRI scanner, participants showed stronger brain activation to artistic expressions from their own culture. Europeans showed greater activation in visual and sensory-motor brain areas, regions in the posterior cingulate cortex (PCC), and hippocampus when viewing Western compared to Eastern landscape paintings. Chinese participants exhibited greater neural activity in the medial and inferior occipital cortex and regions of the superior parietal lobule in response to Eastern compared to Western landscape paintings. On the behavioral level, the aesthetic judgments also differed between Western and Chinese participants when viewing landscape paintings from different cultures; Western participants showed for instance higher valence values when viewing Western landscapes, while Chinese participants did not show this effect when viewing Chinese landscapes. In general, our findings offer differentiated support for a cultural modulation at the behavioral level and in the neural architecture for high-level aesthetic appreciation.

Reducing uncertainty in sustainable interpersonal service relationships: the role of aesthetics

Sustainable interpersonal service relationships (SISRs) are the outcome of a design process that supports situated meaningful interactions between those being served and those in service. Service design is not just directed to simply satisfy the ability to perceive the psychological state of others, but more importantly, it should aim at preserving these relationships in relation to the contextual requirements that they functionally need, in order to be or remain sustainable. However, SISRs are uncertain since they have many possibilities to be in error in the sense that the constructed, situated meanings may finally be proven unsuccessful for the anticipations and the goals of those people engaged in a SISR. The endeavor of this paper is to show that aesthetic behavior plays a crucial role in the reduction of the uncertainty that characterizes such relationships. Aesthetic behavior, as an organized network of affective and cognitive processes, has an anticipatory evaluative function with a strong influence on perception by providing significance and value for those aspects in SISRs that exhibit many possibilities to serve goals that correspond to sustainable challenges. Thus, aesthetic behavior plays an important role in the construction of meanings that are related to both empathic and contextual aspects that constitute the entire situation in which a SISR takes place. Aesthetic behavior has a strong influence in meaning-making, motivating the selection of actions that contribute to our initial goal of interacting with uncertainty, to make the world a bit less puzzling and, thus, to improve our lives, or in other words, to design.

The Enactive Approach to Architectural Experience: A Neurophysiological Perspective on Embodiment, Motivation, and Affordances

Over the last few years, the efforts to reveal through neuroscientific lens the relations between the mind, body, and built environment have set a promising direction of using neuroscience for architecture. However, little has been achieved thus far in developing a systematic account that could be employed for interpreting current results and providing a consistent framework for subsequent scientific experimentation. In this context, the enactive perspective is proposed as a guide to studying architectural experience for two key reasons. Firstly, the enactive approach is specifically selected for its capacity to account for the profound connectedness of the organism and the world in an active and dynamic relationship, which is primarily shaped by the features of the body. Thus, particular emphasis is placed on the issues of embodiment and motivational factors as underlying constituents of the body-architecture interactions. Moreover, enactive understanding of the relational coupling between body schema and affordances of architectural spaces singles out the two-way bodily communication between architecture and its inhabitants, which can be also explored in immersive virtual reality settings. Secondly, enactivism has a strong foothold in phenomenological thinking that corresponds to the existing phenomenological discourse in architectural theory and qualitative design approaches. In this way, the enactive approach acknowledges the available common ground between neuroscience and architecture and thus allows a more accurate definition of investigative goals. Accordingly, the outlined model of architectural subject in enactive terms—that is, a model of a human being as embodied, enactive, and situated agent, is proposed as a basis of neuroscientific and phenomenological interpretation of architectural experience.