Abstracts from the 5th Visual Science of Art Conference (VSAC)

2017 ◽  
Vol 5 (4) ◽  
pp. 337-426 ◽  
Author(s):  
Claus-Christian Carbon ◽  
Joerg Fingerhut
Keyword(s):  
Alphabetical Order ◽  
Aesthetic Experiences ◽  
Cross Cultural Differences ◽  
The Arts ◽  
Visual Science ◽  
Historically Situated ◽  
Sensory Responses ◽  
The Aesthetic ◽  
First Time

This special issue of Art & Perception for the first time comprises the abstracts of talks and posters presented at a Visual Science of Art Conference (VSAC). This year’s, 5th installment of VSAC took place in Berlin, August 25th-27th, with 117 contributions selected for presentation and more than 250 participants. This issue includes an editorial by Claus-Christian Carbon and Joerg Fingerhut that introduces the contributions and discussions at the conference. The abstracts of the keynotes presented by Jesse Prinz and Irving Biederman are then followed by those of the peer reviewed presentations: talks/symposia (in order of presentation) and posters (in alphabetical order). The talks are clustered around central topics in the sciences of the arts, such as aesthetic universals vs. cross-cultural differences, some works are focusing on physiological measures in the aesthetic sciences, or on visual statistics of art images, others address the important issue of ecological valid testing of aesthetic experiences. The contributions to this year’s VSAC demonstrated a clear broadening of topics at the intersection of the visual sciences and the arts. Many presentations went beyond the focus on immediate sensory responses to artworks and simple evaluative states in order to also discuss the typical richness and elaborative quality of art experience that psychologists, philosophers, art historians, sociologists, and others recognize as an intellectually engaged, historically situated, and culturally varied phenomenon. The reprint of these abstracts therefore also aims to represent a cross-section of current research and debates in the field.

scholarly journals The Art of Feeling Different: Measuring and Exploring the Diversity of Emotions Experienced During a Museum Visit

2021 ◽  
Author(s):  
Rebekah Rodriguez ◽  
Anna Fekete ◽  
Paul Silvia ◽  
Katherine N. Cotter
Keyword(s):  
Aesthetic Experience ◽  
Emotional Experience ◽  
Openness To Experience ◽  
Street Art ◽  
Aesthetic Experiences ◽  
The Arts ◽  
The Aesthetic ◽  
The Individual ◽  
First Time ◽  
Emotional Balance

The aesthetic experience of a collection of works—such as a sculpture garden, a neighborhood filled with street art, or an afternoon spent wandering in a museum—is not simply the sum of experiences of the individual works. In the present research, we explored visit-level aesthetic experiences in a field study of 298 visitors to a museum of modern and contemporary art. In particular, we focused on emotional diversity: the richness, complexity, and heterogeneity of the emotions that people experienced during their visit. After their visit, participants reported the degree to which they experienced, if at all, 10 emotions, for which we calculated diversity metrics reflecting their emotional variety (the number of emotions experienced) and emotional balance (the relative evenness between emotions or dominance of a single emotion) during the visit. Overall, the sample reported a rich aesthetic experience, but there was wide and predictable variability. Among other findings, emotional variety was higher for people with greater openness to experience and among first-time visitors to the museum; emotional balance was higher among people high in openness to experience and people with greater interest in art. The concept of diversity—the richness and complexity of someone’s emotional experience of the arts—appears promising for understanding holistic aesthetic experiences, such as entire museum visits rather than single works, as well as for many other questions in empirical aesthetics.

Why Sārus Cranes epitomize Karuṇarasa in the Rāmāyaṇa

2009 ◽  
Vol 19 (2) ◽  
pp. 187-211
Author(s):  
NIELS HAMMER
Keyword(s):  
Personal Experience ◽  
Human Condition ◽  
Affective Neuroscience ◽  
Aesthetic Appreciation ◽  
Affective States ◽  
The Arts ◽  
Recent Developments ◽  
The Aesthetic ◽  
Critical Literature

AbstractBy correlating literary evidence, avian ethology and neurophysiology I will try to demonstrate why Vālmīki chose a pair of Sārus Cranes, and not any other avian species, to epitomise grief and sorrow in the Rāmāyaṇa. This choice illustrates the importance of personal experience of the living reality (behaviour of Sārus Cranes); but the grief, śoka, as experienced by Vālmīki, became in later critical literature, the rasa of karuṇa, the aesthetic appreciation of grief, as suggested by Ānandavardhana and explained by Abhinavagupta. By emphasising the central importance of affective states (sthāyibhāvas) in life as well as in the arts (rasas) Vālmīki, Abhinavagupta and Ānandavardhana appear to have had a perception of the human condition that is consistent with recent developments in affective neuroscience; and thus it is the pitch and the tonal quality of the cries of grief that convey the depth and universality (sādhāraṇatva) of the emotion.

The Role of Attention, Executive Processes, and Memory in Aesthetic Experience

2019 ◽  
Author(s):  
John W. Mullennix
Keyword(s):  
Cognitive Processing ◽  
Aesthetic Experience ◽  
Memory Load ◽  
Cognitive Effort ◽  
Attention And Memory ◽  
Aesthetic Experiences ◽  
The Arts ◽  
Imaging Research ◽  
The Aesthetic ◽  
And Control

When considering the cognitive processes involved in aesthetic experiences, one approach is to focus on the different components in the cognitive system. In this chapter, research on the roles of dual-mode processing, cognitive effort and control, and memory in the aesthetic experience are reviewed. Automatic and controlled processes, respectively, appear to be engaged at different times when viewing art, with one’s goal (e.g., forming a quick impression of art or closely evaluating an artwork) determining how those processes are utilized. Shifts in cognitive control affect how art is processed, as well as attention and memory load demands at the time art is being viewed. Memory comes into play when considering how knowledge about art and expertise is used. Overall, the growing literature on cognitive processing of art and related brain imaging research is producing numerous exciting findings of interest both to the researcher and to persons working in the arts.

Introduction

2000 ◽  
Author(s):  
Deborah A. Rockman
Keyword(s):  
Teaching Experience ◽  
Traumatic Experience ◽  
Teaching Philosophy ◽  
Art World ◽  
Active Teaching ◽  
The Arts ◽  
Undergraduate Experience ◽  
First Time ◽  
Accurate Reflection

This is the formal statement of my teaching philosophy, first developed when I initially sought a position in postsecondary art education. Although it has been finetuned and slightly revised over the years, it remains an accurate reflection of what I strive for in the teaching of art, and more specifically in the teaching of drawing. The memory of walking into a classroom of students for which I had complete responsibility for the first time still fills me with wonder and terror. I was no longer the student waiting to be showered with pearls of wisdom from my instructor. I was the instructor. The sense of awe and responsibility that I felt was simply overwhelming, especially since I had come from an undergraduate experience that seemed to promote the laissez-faire approach—for the most part, there was not a lot of active teaching taking place. The unspoken philosophy during my undergraduate years seemed to be one of passive instruction, supported simply by the primarily silent and stoic presence of the faculty member in the classroom. With few exceptions, there were no lectures or demonstrations given, there were no slides shown as examples, there were no textbooks or reference materials recommended or required, no group critiques or discussions of materials and media, no mention of current philosophies or issues in the art world. As students, we were often left to fend for ourselves. For the student with some natural ability, it may not have been a traumatic experience, but for the student who needed more guidance and encouragement, it was often an experience filled with frustration and a sense of failure. This was not the environment I wanted to re-create for the students for whom I was responsible. Once again, although in a very different role, I found myself on my own. As I gathered teaching experience in the classroom, I saw with increasing clarity the significance of the foundation experience for the student of visual arts. The quality of this introductory experience had the power to broadly influence a student’s entire attitude toward his or her education in the arts.

Memorable projects and aesthetic experiences in an industrial R&D lab

2017 ◽  
Vol 12 (3) ◽  
pp. 285-301
Author(s):  
Ioana Ocnarescu ◽  
Carole Bouchard
Keyword(s):  
Performance Indicators ◽  
Design Methodology ◽  
Content Type ◽  
Aesthetic Experiences ◽  
Research And Innovation ◽  
Innovation Culture ◽  
Key Dimensions ◽  
The Aesthetic ◽  
Practical Implications

Purpose The purpose of this paper is to show the mechanism of aesthetic experiences of work in a research and innovation context – an R&D laboratory of a multinational communications and information technology company. Analysing memorable projects of this laboratory through the lenses of aesthetics is a useful way to understand organizational and innovation culture and the quality of life of researchers and innovators. Design/methodology/approach An exploratory study focusing on memorable projects of 31 researchers who worked on 70 projects during four years was conducted. The data analysis is based on the grounded theory. Findings The study reveals six key dimensions that describe the dimensions of R&D researchers’ aesthetic experiences: perceptive, emotional, intellectual, communicative, collective and organizational. These dimensions are closely related and support an innovation culture in an R&D environment. Research limitations/implications The aesthetic dimensions have to be correlated to innovation performance indicators to better understand which aspects are the most relevant for innovation. Practical implications The paper proposes first examples of implications for the industry to foster an innovation culture through aesthetic experiences. Originality/value No study has been done on aesthetic experiences in an R&D environment.

Communication Sciences and Disorders PhD Graduates' Perceptions of Their PhD Program

2020 ◽  
Vol 5 (2) ◽  
pp. 463-478
Author(s):  
Elizabeth Crais ◽  
Melody Harrison Savage
Keyword(s):  
Detailed Examination ◽  
Career Expectations ◽  
Doctoral Preparation ◽  
Creative Solutions ◽  
Phd Education ◽  
Doctor Of Philosophy ◽  
First Time ◽  
Students Success ◽  
Phd Program

Purpose The shortage of doctor of philosophy (PhD)–level applicants to fill academic and research positions in communication sciences and disorders (CSD) programs calls for a detailed examination of current CSD PhD educational practices and the generation of creative solutions. The intended purposes of the article are to encourage CSD faculty to examine their own PhD program practices and consider the perspectives of recent CSD PhD graduates in determining the need for possible modifications. Method The article describes the results of a survey of 240 CSD PhD graduates and their perceptions of the challenges and facilitators to completing a PhD degree; the quality of their preparation in research, teaching, and job readiness; and ways to improve PhD education. Results Two primary themes emerged from the data highlighting the need for “matchmaking.” The first time point of needed matchmaking is prior to entry among students, mentors, and expectations as well as between aspects of the program that can lead to students' success and graduation. The second important matchmaking need is between the actual PhD preparation and the realities of the graduates' career expectations, and those placed on graduates by their employers. Conclusions Within both themes, graduate's perspectives and suggestions to help guide future doctoral preparation are highlighted. The graduates' recommendations could be used by CSD PhD program faculty to enhance the quality of their program and the likelihood of student success and completion. Supplemental Material https://doi.org/10.23641/asha.11991480

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

Why Is Safe Science Good Science?

2018 ◽  
Author(s):  
Camilla Kao ◽  
Che-I Kao ◽  
Russell Furr
Keyword(s):  
Decision Making ◽  
Design Thinking ◽  
Good Science ◽  
Safety Issues ◽  
Safety Requirements ◽  
The Arts ◽  
Hands On ◽  
Obvious Benefit ◽  
New Ideas

In science, safety can seem unfashionable. Satisfying safety requirements can slow the pace of research, make it cumbersome, or cost significant amounts of money. The logic of rules can seem unclear. Compliance can feel like a negative incentive. So besides the obvious benefit that safety keeps one safe, why do some scientists preach "safe science is good science"? Understanding the principles that underlie this maxim might help to create a strong positive incentive to incorporate safety into the pursuit of groundbreaking science.<div><br></div><div>This essay explains how safety can enhance the quality of an experiment and promote innovation in one's research. Being safe induces a researcher to have <b>greater control</b> over an experiment, which reduces the <b>uncertainty</b> that characterizes the experiment. Less uncertainty increases both <b>safety</b> and the <b>quality</b> of the experiment, the latter including <b>statistical quality</b> (reproducibility, sensitivity, etc.) and <b>countless other properties</b> (yield, purity, cost, etc.). Like prototyping in design thinking and working under the constraint of creative limitation in the arts, <b>considering safety issues</b> is a hands-on activity that involves <b>decision-making</b>. Making decisions leads to new ideas, which spawns <b>innovation</b>.</div>

Resveratrol: A new potential therapeutic agent for melanoma?

2019 ◽  
Vol 26 ◽  
Author(s):  
Mohamad Hossein Pourhanifeh ◽  
Kazem Abbaszadeh-Goudarzi ◽  
Mohammad Goodarzi ◽  
Sara G.M. Piccirillo ◽  
Alimohammad Shafiee ◽  
...  
Keyword(s):  
Quality Of Life ◽  
Therapeutic Agent ◽  
Current Knowledge ◽  
Treatment Resistance ◽  
Anti Cancer ◽  
Apoptosis Inducer ◽  
Life Threatening ◽  
First Time

: Melanoma is the most life-threatening and aggressive class of skin malignancies. The incidence of melanoma has steadily increased. Metastatic melanoma is greatly resistant to standard anti-melanomatreatments such as chemotherapy, and 5-year survival rate of cases with melanoma who have metastatic form of disease is less than 10%. The contributing role of apoptosis, angiogenesis and autophagy in the pathophysiology of melanoma has been previously demonstrated. Thus, it is extremely urgent to search for complementary therapeutic approachesthat couldenhance the quality of life of subjects and reduce treatment resistance and adverse effects. Resveratrol, known as a polyphenol component present in grapes and some plants, has anti-cancer properties due to its function as an apoptosis inducer in tumor cells, and anti-angiogenic agent to prevent metastasis. However, more clinical trials should be conducted to prove resveratrol efficacy. : Herein, for first time, we summarize current knowledge of anti-cancerous activities of resveratrol in melanoma.

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