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Cognition In The Wild

About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, neuroscience discovered the arts as an area of interest, and new theories offered a more comprehensive look at aesthetic experiences. Ten years ago, Leder, Belke, Oeberst, and Augustin (2004) proposed a descriptive information-processing model of the components that integrate an aesthetic episode. This theory offered explanations for modern art's large number of individualized styles, innovativeness, and for the diverse aesthetic experiences it can stimulate. In addition, it described how information is processed over the time course of an aesthetic episode, within and over perceptual, cognitive and emotional components. Here, we review the current state of the model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics.

Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode – Developments and challenges in empirical aesthetics

In principle, the work of art has always been reproducible. Objects made by humans could
always be copied by humans. Replicas were made by pupils in practicing for their craft, by
masters in disseminating their works, and, ﬁnally, by third parties in pursuit of proﬁt. But
the technological reproduction of artworks is something new. Having appeared intermittently in history, at widely spaced intervals, it is now being adopted with ever-increasing
intensity. Graphic art was ﬁrst made technologically reproducible by the woodcut, long
before written language became reproducible by movable type. The enormous changes
brought about in literature by movable type, the technological reproduction of writing, are
well known. But they are only a special case, though an important one, of the phenomenon
considered here from the perspective of world history. In the course of the Middle Ages the
woodcut was supplemented by engraving and etching, and at the beginning of the nineteenth
century by lithography.

The work of art in the age of its technological reproducibility: second version: Walter Benjamin

ARTS 1316 (ARTS 1316) Drawing Foundations (3 semester credit hours) This course provides a foundation for advancement to Drawing II and III, figure drawing and printmaking classes. Emphasis will be placed on the process of charcoal, graphite and ink in relation to design concerns such as light, space, form and composition. The class will stress the importance of drawing as a method to make visual form out of conceptualized ideas as well as provide the manual skills to describe reality. (0-3) S

https://onlinelibrary.wiley.com/doi/pdf/10.1002/j.1939-4640.2004.tb02794.x

What Is “ART”?

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.

The experience of art emerges from the interaction of various cognitive and affective processes. The unfolding of these processes in time and their relation with viewing behavior, however, is still poorly understood. Here we examined the effect of context on the relation between the experience of art and viewing time, the most basic indicator of viewing behavior. Two groups of participants viewed an art exhibition in one of two contexts: one in the museum, the other in the laboratory. In both cases viewing time was recorded with a mobile eye tracking system. After freely viewing the exhibition, participants rated each artwork on liking, interest, understanding, and ambiguity scales. Our results show that participants in the museum context liked artworks more, found them more interesting, and viewed them longer than those in the laboratory. Analyses with mixed effects models revealed that aesthetic appreciation (compounding liking and interest), understanding, and ambiguity predicted viewing time for artworks and for their corresponding labels. The effect of aesthetic appreciation and ambiguity on viewing time was modulated by context: Whereas art appreciation tended to predict viewing time better in the laboratory than in museum context, the relation between ambiguity and viewing time was positive in the museum and negative in the laboratory context. Our results suggest that art museums foster an enduring and focused aesthetic experience and demonstrate that context modulates the relation between art experience and viewing behavior.

/pdf/art-in-time-and-space-context-modulates-the-relation-between-1fb518yeqn.pdf

Art in Time and Space: Context Modulates the Relation between Art Experience and Viewing Time

Why do some people like negative, or even disgusting and provocative artworks? Art expertise, believed to influence the interplay among cognitive and emotional processing underlying aesthetic experience, could be the answer. We studied how art expertise modulates the effect of positive-and negative-valenced artworks on aesthetic and emotional responses, measured with self-reports and facial electromyography (EMG). Unsurprisingly, emotionally-valenced art evoked coherent valence as well as corrugator supercilii and zygamoticus major activations. However, compared to non-experts, experts showed attenuated reactions, with less extreme valence ratings and corrugator supercilii activations and they liked negative art more. This pattern was also observed for a control set of International Affective Picture System (IAPS) pictures suggesting that art experts show general processing differences for visual stimuli. Thus, much in line with the Kantian notion that an aesthetic stance is emotionally distanced, art experts exhibited a distinct pattern of attenuated emotional responses.

What makes an art expert? Emotion and evaluation in art appreciation

In the white cube: museum context enhances the valuation and memory of art.

Scientific disciplines as diverse as biology, physics, and psychological aesthetics regard symmetry as one of the most important principles in nature and one of the most powerful determinants of be...

https://journals.sagepub.com/doi/pdf/10.1177/0276237418777941

David Brieber

Papers

Art in Time and Space: Context Modulates the Relation between Art Experience and Viewing Time

What makes an art expert? Emotion and evaluation in art appreciation

Art in Time and Space: Context Modulates the Relation between Art Experience and Viewing Time

In the white cube: museum context enhances the valuation and memory of art.

Symmetry Is Not a Universal Law of Beauty