The Art Museum in Partnership with Schools

Funch, Bjarne Sode

doi:10.1111/1468-0033.00089

Cited by 7 publications

(7 citation statements)

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“…The fourth key positive outcome is entertainment, that is, pleasure or interest through appreciating or expressing art. Engaging with visual art may be enjoyable for diverse reasons, from a pleasant distraction to an engrossing intellectual experience (Funch, 1997). The well-being value of appreciation was highlighted by Clow and Fredhoi (2006), who found that visits to galleries can help reduce cortisol and self-reported stress.…”

Section: Visual Artmentioning

confidence: 99%

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

Lomas

2016

Review of General Psychology

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The relevance of the arts to well-being has been recognized within clinical fields, as reflected in therapeutic forms based on various art modalities, from music to drama therapy. However, there has hitherto been little appreciation of the broader potential of the arts as a vehicle for flourishing and fulfillment in fields such as positive psychology. As such, this article proposes the creation of “positive art” as a field encompassing theory and research concerning the well-being value of art. To show the scope and possibilities of this proposed field, the article provides an indicative summary of literature pertaining to 4 major art forms: visual art, music, literature, and drama. Moreover, the article identifies 5 main positive outcomes that are consistently found in the literature across all these forms: sense-making, enriching experience, aesthetic appreciation, entertainment, and bonding. The article aims to encourage a greater focus on the arts in fields such as positive psychology, enabling science to more fully understand and appreciate the positive power of the arts.

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Section: Visual Artmentioning

confidence: 99%

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

Lomas

2016

Review of General Psychology

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“…Conditions similar to Enhanced Awareness states have previously been described as “Object and I for myself” (Ognjenovic, 2003), absorption (Tellegen & Atkinson, 1974), peak experience (Maslow, 1971), flow (Csikszentmihalyi, 1997), aesthetic experience (Funch, 1997; Marković, 2012) and “exceptional state of mind” (Pelowski, 2015; Pelowski et al, 2021). These states are characterized by a very strong focus on only one object, fascination with it, loss of awareness of time, loss of self-awareness, weakening of boundaries, transcending everyday purpose and meaning of the object, transformation of self, and a strong and clear sense of unity with the object.…”

Section: Discussionmentioning

confidence: 92%

The Effects of Psychotic Tendencies on Aesthetic Preferences of Paintings

Stojilović¹

2022

Empirical Studies of the Arts

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This study examined the effects of psychotic tendencies on aesthetic preferences for paintings. Although psychotic tendencies and related phenomena are often associated with creative achievements, little research in the field of experimental aesthetics has investigated their effects on the aesthetic experience. This study (N = 153) examined how the positive, negative and disorganized aspects of psychotic tendencies, defined through a comprehensive model of the Disintegration trait, are related to the aesthetic preferences of paintings. Results indicated a general trend whereby Disintegration and its modalities had a positive effect on the aesthetic preferences of non-canonical (Ugly and Incomprehensible) paintings, and a negative effect on canonical, traditional (Beautiful and Comprehensible) paintings. Examination of the Disintegration trait provides us with additional information regarding aesthetic preferences, compared to use of the Big Five model alone. Two processes – conservation and progression – are proposed as explanations for the findings.

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“…Notwithstanding cognitive and emotional evaluations, aesthetic experiences doubtless involve the body in its entirety, including our sense of gravity and verticality. The participants came out of the exhibition with an improved sense of verticality; this can contribute to the elaboration of aesthetic experience, which is existential and contributes to personal integrity according to philosophers ( Funch, 1997 ).…”

Section: Discussionmentioning

confidence: 99%

Visiting Richard Serraâ€™s â€œPromenadeâ€ sculpture improves postural control and judgment of subjective visual vertical

et al. 2014

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Body sway while maintaining an upright quiet stance reflects an active process of balance based on the integration of visual, vestibular, somatosensory, and proprioceptive inputs. Richard Serra’s Promenade sculpture featured in the 2008 Monumenta exhibition at the Grand Palais in Paris, France is herein hypothesized to have stimulated the body’s vertical and longitudinal axes as it showcased five monumental rectangular solids pitched at a 1.69° angle. Using computerized dynamic posturography we measured the body sway of 23 visitors when fixating a cross, or when observing the artwork (fixating it or actively exploring it with eye movements) before and after walking around and alongside the sculpture (i.e., before and after a promenade). A first fixation at the sculpture increased medio-lateral stability (in terms of spectral power of body sway). Eye movement exploration in the depth of the sculpture increased antero-posterior stability [in terms of spectral power and canceling time (CT) of body sway] at the expense of medio-lateral stability (in terms of CT). Moreover, a medio-lateral instability associated with eye movement exploration before the promenade (in terms of body sway sensu stricto) was canceled after the promenade. Finally, the overall medio-lateral stability (in terms of spectral power) increased after the promenade. Fourteen additional visitors were asked to stand in a dark room and adjust a luminous line to what they considered to be the earth-vertical axis. The promenade executed within the sculpted environment afforded by Serra’s monumental statuary works resulted in significantly improved performances on the subjective visual vertical test. We attribute these effects to the sculpted environment provided by the exhibition which may have acted as a kind of physiologic “training ground” thereby improving the visitors’ overall sense of visual perspective, equilibrium, and gravity.

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The Art Museum in Partnership with Schools

Cited by 7 publications

References 0 publications

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

The Effects of Psychotic Tendencies on Aesthetic Preferences of Paintings

Visiting Richard Serraâ€™s â€œPromenadeâ€ sculpture improves postural control and judgment of subjective visual vertical

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The Art Museum in Partnership with Schools

Cited by 7 publications

References 0 publications

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

Positive Art: Artistic Expression and Appreciation as an Exemplary Vehicle for Flourishing

The Effects of Psychotic Tendencies on Aesthetic Preferences of Paintings

Visiting Richard Serraâ€™s â€œPromenadeâ€ sculpture improves postural control and judgment of subjective visual vertical

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Product

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Visiting Richard Serraâ€™s â€œPromenadeâ€ sculpture improves postural control and judgment of subjective visual vertical