Emotion and Empirical Aesthetics

The rise in neuroaesthetics laboratories across the globe has led to scores of experiments designed to grasp people’s emotional, cognitive and perceptual responses to artworks, yet few researchers have studied spectators experiencing visual art in actual exhibitions. In 2015, Volker Kirchberg and M...

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Main Author: Sue Spaid
Format: Article
Language:English
Published: Nederlands Genootschap voor Esthetica (Dutch Association of Aesthetics) 2020-12-01
Series:Aesthetic Investigations
Subjects:
Online Access:https://aestheticinvestigations.eu/article/view/11929
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author Sue Spaid
author_facet Sue Spaid
author_sort Sue Spaid
collection DOAJ
description The rise in neuroaesthetics laboratories across the globe has led to scores of experiments designed to grasp people’s emotional, cognitive and perceptual responses to artworks, yet few researchers have studied spectators experiencing visual art in actual exhibitions. In 2015, Volker Kirchberg and Martin Tröndle published the results of their five-year experiment, whereby they mapped the physiological, social, psychological and aesthetic experiences of ‘600 diverse persons with a designed exhibition of classic modern and contemporary art as part of the Swiss national research project eMotion’. Their study’s most counter-intuitive discovery is the negligible role played by emotional response for those most engaged with artworks, that is, those spectators who regularly assess, evaluate and judge artworks. Given that not all appreciative attitudes reflect emotional responses, this paper argues that it would behoove researchers to study artworks that literally ‘move us’, causing us to take action, shift perspectives and adopt new values.
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spelling doaj.art-f2fa57f96e804433a87f769f2fe68c662024-04-19T08:52:50ZengNederlands Genootschap voor Esthetica (Dutch Association of Aesthetics)Aesthetic Investigations2352-27042020-12-014110.58519/aesthinv.v4i1.1192911922Emotion and Empirical AestheticsSue Spaid0Brussels The rise in neuroaesthetics laboratories across the globe has led to scores of experiments designed to grasp people’s emotional, cognitive and perceptual responses to artworks, yet few researchers have studied spectators experiencing visual art in actual exhibitions. In 2015, Volker Kirchberg and Martin Tröndle published the results of their five-year experiment, whereby they mapped the physiological, social, psychological and aesthetic experiences of ‘600 diverse persons with a designed exhibition of classic modern and contemporary art as part of the Swiss national research project eMotion’. Their study’s most counter-intuitive discovery is the negligible role played by emotional response for those most engaged with artworks, that is, those spectators who regularly assess, evaluate and judge artworks. Given that not all appreciative attitudes reflect emotional responses, this paper argues that it would behoove researchers to study artworks that literally ‘move us’, causing us to take action, shift perspectives and adopt new values. https://aestheticinvestigations.eu/article/view/11929appreciative attitudesaesthetic experienceexhibitionsmuseumsemotion
spellingShingle Sue Spaid
Emotion and Empirical Aesthetics
Aesthetic Investigations
appreciative attitudes
aesthetic experience
exhibitions
museums
emotion
title Emotion and Empirical Aesthetics
title_full Emotion and Empirical Aesthetics
title_fullStr Emotion and Empirical Aesthetics
title_full_unstemmed Emotion and Empirical Aesthetics
title_short Emotion and Empirical Aesthetics
title_sort emotion and empirical aesthetics
topic appreciative attitudes
aesthetic experience
exhibitions
museums
emotion
url https://aestheticinvestigations.eu/article/view/11929
work_keys_str_mv AT suespaid emotionandempiricalaesthetics