Self-Consistency, Value Strength and Aesthetic Judgments

1966 ◽  
Vol 19 (2) ◽  
pp. 367-370 ◽  
Author(s):  
Eugene L. Hartley ◽  
Shirley Schwartz
Keyword(s):  
Empirical Test ◽  
Aesthetic Judgment ◽  
The Self ◽  
Aesthetic Value ◽  
Rank Difference ◽  
The Mean ◽  
Index 2 ◽  
The Aesthetic ◽  
Self Consistency ◽  
Aesthetic Judgments

An empirical test was made of the relation of self-consistency to strength of the aesthetic value in determining aesthetic judgments. 25 undergraduate Ss responded to 24 paintings. From each respondent was collected: (1) using a self-anchoring scale adaptation, a self-rating of personality characteristics subjectively deemed the significant attributes characterizing those who liked and disliked each painting as the self-concept index, (2) rating of the degree of liking each painting on a six-point scale as the aesthetic behavior studied and (3) score on the Aesthetic Value of the Allport-Vernon-Lindzey Study of Values as the index of the strength or importance of the particular value involved. Tetrachoric correlations of the 24 sets of responses made by each individual in (1) and (2) were used as the indices of self-consistency. The mean rt = .50 ( p < .01). Rank difference correlations of these rts and the score on the Aesthetic Value from (3) indicated the importance of the value in determining the strength of the self-consistency ( rho = .39, p < 05), confirming the significance of this correlate of the self-consistency dynamic in aesthetic judgment.

scholarly journals The neural mechanism of aesthetic judgments of dynamic landscapes: an fMRI study

2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Xueru Zhao ◽  
Junjing Wang ◽  
Jinhui Li ◽  
Guang Luo ◽  
Ting Li ◽  
...  
Keyword(s):  
Visual Processing ◽  
Occipital Lobe ◽  
Neural Mechanism ◽  
Aesthetic Judgment ◽  
Neural Mechanisms ◽  
Middle Temporal Gyrus ◽  
Dynamic Stimuli ◽  
Dynamic Landscapes ◽  
The Aesthetic ◽  
Aesthetic Judgments

AbstractMost previous neuroaesthetics research has been limited to considering the aesthetic judgment of static stimuli, with few studies examining the aesthetic judgment of dynamic stimuli. The present study explored the neural mechanisms underlying aesthetic judgment of dynamic landscapes, and compared the neural mechanisms between the aesthetic judgments of dynamic landscapes and static ones. Participants were scanned while they performed aesthetic judgments on dynamic landscapes and matched static ones. The results revealed regions of occipital lobe, frontal lobe, supplementary motor area, cingulate cortex and insula were commonly activated both in the aesthetic judgments of dynamic and static landscapes. Furthermore, compared to static landscapes, stronger activations of middle temporal gyrus (MT/V5), and hippocampus were found in the aesthetic judgments of dynamic landscapes. This study provided neural evidence that visual processing related regions, emotion-related regions were more active when viewing dynamic landscapes than static ones, which also indicated that dynamic stimuli were more beautiful than static ones.

scholarly journals Autonomy and Aesthetic Engagement

Mind ◽  
2019 ◽  
Vol 129 (516) ◽  
pp. 1127-1156 ◽  
Author(s):  
C Thi Nguyen
Keyword(s):  
The Other ◽  
Aesthetic Appreciation ◽  
Aesthetic Value ◽  
Aesthetic Object ◽  
Other Hand ◽  
Motivational Structure ◽  
The Aesthetic ◽  
The One ◽  
The Right ◽  
Aesthetic Judgments

Abstract There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. Our attempts at aesthetic judgments aim at correctness. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than through deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. How can we resolve this tension? The best explanation, I suggest, is that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. When one defers to aesthetic testimony, then, one makes the same mistake as when one looks up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments.

scholarly journals AESTHETIC EXPERIENCE AND AESTHETIC JUDGMENTS: THE FEATURES OF THE RELATIONSHIPS

2020 ◽  
pp. 187-194
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Judgment ◽  
Human Existence ◽  
Inner Life ◽  
Complete Absorption ◽  
The Aesthetic ◽  
State Of Affairs ◽  
The Mind ◽  
Relationship Of ◽  
Aesthetic Judgments

The article examines the essence and relationship of aesthetic experience and aesthetic judgment. It is argued that philosophical aesthetics deals with constants that are fundamental to aesthetic experience. Such constants are phenomena and characteristics that have a fundamental ontological status in the aesthetic sphere. It was found that the ontological characteristic of aesthetic experience is that it is not reducible to “pure” rationality, that is, it is not something that is “adapted” to complete and final comprehension by the mind alone. Therefore, a complete “absorption” of aesthetic experience by a certain semantic structure is impossible: such experience always goes beyond any discursive boundaries and simultaneously opens them. In addition, aesthetic experience serves as one of the means of a person’s “contact” with the world and society. Forming on the material of sensations, aesthetic experience extends from the most general ideas about the universe to the inner life of a person. The analysis also showed that the formulation of an aesthetic judgment is based on the concepts of the perfect and the imperfect. In turn, the mastery of such concepts is carried out in the process of correlating a certain aesthetic fact with the existing value scale. That is why aesthetic judgments have signs of normativity. They also create the basis for a common worldview and attitude, lay the foundation for mutual understanding between people of a certain culture. The study showed that the process of aesthetic assessment is a constant correlation of the existing state of affairs with something ideal (within a certain value scale), this is a permanent “demand” for perfection, as well as a tireless search for an opportunity to fulfill this “demand”. At the same time, ethical experience is dissociated from “pure” pragmatics, which personifies vital necessity, because the aesthetic sphere is always associated with a certain “redundancy” in human existence. Also, the results obtained in the course of the study suggested that philosophical aesthetics, which takes into account and investigates the specificity of the phenomenon of corporeality, as well as such phenomena of human existence as affective sensitivity and sensitive rationality, is able to overcome the limitation of “an-esthetic” naturalism in aesthetics.

Should Moral Judgments Affect Aesthetic Judgments (or the Other Way Around)?

Dangerous Art ◽  
2020 ◽  
pp. 144-160
Author(s):  
James Harold
Keyword(s):  
Moral Judgment ◽  
Complete Separation ◽  
Aesthetic Judgment ◽  
Moral Judgments ◽  
The Other ◽  
Aesthetic Value ◽  
Normative Question ◽  
Aesthetic Judgments

This chapter offers a defense of autonomism—the view that aesthetic and moral judgments are independent of one another. When we ask whether judging an artwork to be morally bad affects its aesthetic value, we are asking a normative question about what it is best for us to do. Should we take a moral judgment about the effects of an artwork to bear on our aesthetic judgment about the work itself? The chapter argues that we do not make any error if we refuse to change one judgment in light of the other. We are free to keep them separate. This chapter concludes with replies to objections from both those who endorse a stronger link between morality and aesthetics as well as those who want a complete separation.

scholarly journals AESTHETICS AND JUDGMENT: “WHY KANT GOT IT RIGHT”

2018 ◽  
Vol 26 (54) ◽  
Author(s):  
Morten Kyndrup
Keyword(s):  
Social Cohesion ◽  
Aesthetic Judgment ◽  
Short Paper ◽  
The Social ◽  
The Creation ◽  
The Aesthetic ◽  
Point Of Departure ◽  
Aesthetic Preferences ◽  
As If ◽  
Aesthetic Judgments

The article argues that although all scholars within aesthetics basically know and recognize it, there is a tendency in many of its traditions to forget or to underestimate the importance of the aesthetic judgment. With Thierry de Duve’s short paper “Why Kant got it Right” as its point of departure, this importance is discussed. Not only its importance in aesthetic relations and to aesthetics as a discipline, but also in a broader sense, through the contribution to the overall social cohesion of society, offered by aesthetic judgments. All judgments are pronounced as-if a shared scale of aesthetic preferences did exist (which it does not). Judgments are addressed to communities, to the notion of a joint “we”, and thus they do participate in the creation and the maintenance of the social as such. Also professional aesthetic critique, including art critique, should be aware of that, since even historically achieved differentiations and divisions of labour may be lost again if not being developed and kept up to date.

scholarly journals The Impact of Motor Imageries on Aesthetic Judgment of Chinese Calligraphy: An fMRI Study

2021 ◽  
Vol 15 ◽  
Author(s):  
Mingcheng He ◽  
Wei Zhang ◽  
Hira Shahid ◽  
Yushan Liu ◽  
Xiaoling Liang ◽  
...  
Keyword(s):  
Motor Imagery ◽  
Aesthetic Experience ◽  
Aesthetic Judgment ◽  
Aesthetic Appreciation ◽  
Chinese Calligraphy ◽  
Imaging Results ◽  
Kinesthetic Imagery ◽  
The Aesthetic ◽  
The Impact ◽  
Aesthetic Judgments

Previous behavioral studies on aesthetics demonstrated that there was a close association between perceived action and aesthetic appreciation. However, few studies explored whether motor imagery would influence aesthetic experience and its neural substrates. In the current study, Chinese calligraphy was used as the stimuli to explore the relationship between the motor imagery and the aesthetic judgments of a participant using functional magnetic resonance imaging. The imaging results showed that, compared with the baseline, the activation of the brain regions [e.g., anterior cingulate cortex (ACC), putamen, and insula] involved in perceptual processing, cognitive judgments, aesthetic emotional, and reward processing was observed after the participants performed motor imagery tasks. The contrast analyses within aesthetic judgments showed that the kinesthetic imagery significantly activated the middle frontal gyrus, postcentral gyrus, ACC, and thalamus. Generally, these areas were considered to be closely related to positive aesthetic experience and suggested that motor imagery, especially kinesthetic imagery, might be specifically associated with the aesthetic appreciation of Chinese calligraphy.

Electrophysiological Indices of Processing Symmetry and Aesthetics

2007 ◽  
Vol 21 (1) ◽  
pp. 9-21 ◽  
Author(s):  
Lea Höfel ◽  
Thomas Jacobsen
Keyword(s):  
Cognitive Processes ◽  
Impression Formation ◽  
Visual Analysis ◽  
Judgment Task ◽  
Aesthetic Judgment ◽  
Aesthetic Value ◽  
Black And White ◽  
Electrophysiological Activity ◽  
The Aesthetic ◽  
The Right

Abstract. Evaluative aesthetic judgments and descriptive symmetry judgments were compared. Electrophysiological activity was recorded while participants judged the aesthetic value or the symmetry status of novel graphic black and white patterns. In order to experimentally separate judgment categorization processes and judgment report processes, participants were instructed to misreport their true actual judgment in half of the trials. Three effects found in a previous study were examined: (1) an early frontocentral effect for the evaluation of not-beautiful patterns reflecting an early impression formation, (2) a more pronounced ERP lateralization to the right for the aesthetic judgment task in comparison to the symmetry judgment task reflecting evaluative categorization, and (3) a sustained posterior effect for the visual analysis of symmetric patterns. In this study, (1) and (3) were replicated independent of the validity of the response, but (2) was affected by the validity, i.e., the effect was abolished in the false condition. Thus, results allowed further specification of cognitive processes involved in judgments of symmetry or aesthetics. Given present data, the ERP effects predominantly reflect judgment categorization and not judgment report.

The Effect of Verbal Instruction and Artistic Background on the Aesthetic Judgment of Rectangles

1994 ◽  
Vol 12 (2) ◽  
pp. 185-203 ◽  
Author(s):  
Paul Hekkert ◽  
C. (Lieke) E. Peper ◽  
Piet C. W. Van Wieringen
Keyword(s):  
Golden Section ◽  
Individual Preference ◽  
Aesthetic Judgment ◽  
Objective Condition ◽  
Verbal Instructions ◽  
School Subjects ◽  
Preference Functions ◽  
The Mean ◽  
The Aesthetic ◽  
Types Of Instruction

A review of studies on the judgment of rectangle proportions pointed out that individual differences in preference might be partly due to differences in verbal instructions given to the subjects. In the present experiment two types of instruction were used and their effects on both naive and experienced (art school) subjects were assessed. Following a subjective instruction, emphasizing personal preference, mean ratings of naive subjects revealed a preference peak around the Golden Section, whereas mean ratings of experienced viewers peaked at the square. In the objective condition, involving judgment of the goodness of proportion regardless of personal liking, the mean preferences of both groups clearly tended toward the square. Individual preference functions partly confirmed these mean patterns, but demonstrated large intersubject variability. Moreover, the naive viewers were significantly more consistent in their ratings than the experienced ones.

scholarly journals Translation: Sentiment: The Basis for Developing Aesthetic Judgment

2016 ◽  
Vol 1 (1) ◽  
pp. 68 ◽  
Author(s):  
Marjan Michels ◽  
Wil Meeus ◽  
Johan De Walsche
Keyword(s):  
Interesting Case ◽  
Aesthetic Judgment ◽  
Central Position ◽  
Value Judgments ◽  
Aesthetic Value ◽  
Emotional Process ◽  
A Value ◽  
Underlying Mechanisms ◽  
The Aesthetic ◽  
Aesthetic Values

<p>Consciously or unconsciously, programmes in higher education maintain a value framework about the aesthetic value of students’ work, primarily based on the ability of such work to touch or move us. We consider something aesthetically valuable when it makes us feel good. In an educational environment, however, dealing with aesthetic value judgments pedagogically is complicated. After all, aesthetic judgment is a skill that cannot be taught explicitly; it can only be practised. This article discusses the underlying mechanisms of aesthetic judgment. The aim is to gain a better understanding of this skill and thus to contribute to the development of a pedagogy of aesthetic judgment. Relying on a theoretical framework developed on the basis of a literature review, we suggest that judging aesthetic value is an emotional process that requires well-formed aesthetic sentiment. Architectural education is an interesting case because it is a field in which aesthetic values occupy a central position. This study is therefore illustrated with examples from this field.</p>

scholarly journals Assessment of aesthetical quality of architectural elements of Colonial buildings in Jalan Basuki Rahmat, Malang

2020 ◽  
Author(s):  
ARTEKS Jurnal Teknik Arsitektur ◽  
Syamsun Ramli ◽  
herry santosa
Keyword(s):  
Public Perception ◽  
Initial Step ◽  
Aesthetic Judgment ◽  
Aesthetic Value ◽  
Distinctive Character ◽  
Aesthetic Quality ◽  
Architectural Elements ◽  
Architectural Element ◽  
The Aesthetic

The characters of a building are formed by several elements, one of them is an architectural element. The architectural element can be assessed using aesthetic judgment scales. Aesthetic value is closely related to public perception. The Colonial buildings in Jalan Basuki Rahmat have distinctive character that worth to be preserved. Assessment of building aesthetic is the initial step in the effort to preserve colonial buildings. This study aims to assess the aesthetic quality of the architectural elements of Colonial buildings in Jalan Basuki Rahmat. Questionnaires are used to collect data, and Aesthetic measurement is carried out using the semantic differential scale. The community members are requested to judge the aesthetic quality of the buildings based on their own perceptions by looking at photos. Data were analyzed using descriptive statistics, independent samples test, and linear regression. The research results showed that the architectural element that had the most significant impact on the aesthetic quality of Colonial buildings were the façade. The Colonial building with the highest aesthetic value is the Church of the Sacred Heart of Jesus Malang.

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