Implicit semantic features and aesthetic preference

Jankovic, Dragan; Marković, Slobodan

doi:10.1167/9.8.942

Cited by 1 publication

(2 citation statements)

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“…Some compositions are uni-modal (eg, paintings are visual artworks, music is auditory art, etc), whereas some compositions are multi-modal (eg, opera, theatre, film, etc). Many studies and phenomenological demonstrations have shown that even the single iconic features (eg, colours, lines, and shapes) can provide some elementary meanings, such as dynamics, warmth, health, time, destruction, loneliness, and so on (cf Arnheim 1980 ; Janković and Marković 2001 , 2009 ; Oyama et al 2008 ; Palmer and Schloss 2010 ). These implicit perceptual meanings can be used as artistic means for creating the symbolic meanings on a narrative level.…”

Section: The Functional Model Of Aesthetic Experiencementioning

confidence: 99%

“…Some more diffuse emotions are generated during the perception of simple aesthetic objects and their features. For instance, some studies have shown that sharp irregular figures were experienced as more disturbing than oval regular shapes (cf Arnheim 1980 ; Janković and Marković 2001 , 2009 ; Oyama et al 2008 ), light reddish colours were judged as more pleasant than dark brown ones (Palmer and Schloss 2010 ), and so on. Our model suggests that these diffuse affective qualities are associated with perceptual qualities through the feedback mechanisms (eg, red + excitement, ovalness + pleasure, etc).…”

Section: The Functional Model Of Aesthetic Experiencementioning

confidence: 99%

See 1 more Smart Citation

Components of Aesthetic Experience: Aesthetic Fascination, Aesthetic Appraisal, and Aesthetic Emotion

2012

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In this paper aesthetic experience is defined as an experience qualitatively different from everyday experience and similar to other exceptional states of mind. Three crucial characteristics of aesthetic experience are discussed: fascination with an aesthetic object (high arousal and attention), appraisal of the symbolic reality of an object (high cognitive engagement), and a strong feeling of unity with the object of aesthetic fascination and aesthetic appraisal. In a proposed model, two parallel levels of aesthetic information processing are proposed. On the first level two sub-levels of narrative are processed, story (theme) and symbolism (deeper meanings). The second level includes two sub-levels, perceptual associations (implicit meanings of object's physical features) and detection of compositional regularities. Two sub-levels are defined as crucial for aesthetic experience, appraisal of symbolism and compositional regularities. These sub-levels require some specific cognitive and personality dispositions, such as expertise, creative thinking, and openness to experience. Finally, feedback of emotional processing is included in our model: appraisals of everyday emotions are specified as a matter of narrative content (eg, empathy with characters), whereas the aesthetic emotion is defined as an affective evaluation in the process of symbolism appraisal or the detection of compositional regularities.

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Section: The Functional Model Of Aesthetic Experiencementioning

confidence: 99%