What is a Beautiful Experiment?

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow construal of experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results.

The Unification of the Arts

The Unification of the Arts presents the first integrated cognitive account of the arts that attempts to unite all of the arts into a single framework, covering visual art, theatre, literature, dance, and music, with supporting discussions about creativity and aesthetics that span all of the arts. The book’s comparative approach identifies both what is unique to each artform and what artforms share with one another. An understanding of shared mechanisms sheds light on how the arts are able to combine with one another to form syntheses, such as choreographing dance movements to music, or setting lyrics to music to create a song. While most psychological analyses of the arts focus on perceptual mechanisms alone—most commonly aesthetic responses—the book offers a holistic sensorimotor account of the arts that examines the full gamut of processes from creation to perception for each artform. This allows for a broad discussion of the evolution of the arts, including the origins of rhythm, the co-evolution of music and language, the evolution of drawing, and cultural evolution of the arts. Finally, the book aims to unify a number of topics that have not been adequately related to one another in previous discussions, including theatre and literature, music and language, creativity and aesthetics, dancing and acting, and visual art and music. The Unification of the Arts provides a bold new approach to the integration of the arts, one that covers cognition, evolution, and neuroscience.

Scene Preferences, Aesthetic Appeal, and Curiosity

A gradient of µ-opioid receptors extends from early sensory areas of the cerebral cortex to associative cortex, with the greatest density of receptors in the most anterior associative regions. In 2006, Biederman and Vessel proposed that the hedonic value of perceptual and cognitive experience is a function of activation of this gradient. A desire for opioid activity provided by this gradient renders us infovores, always seeking novel but richly interpretable experiences. Richly interpretable experiences engage the opioid-dense anterior regions of the gradient, while novel experiences engage neural ensembles that have yet to undergo adaptation. Support for this proposal derives from the greater activity elicited in opioid-rich parahippocampal cortex for preferred over nonpreferred scenes, with neural network modeling of visual aesthetic responses suggesting that representations in later stages are more predictive of aesthetic responses, and psychopharmacological experiments that support the potential involvement of endogenous opioids.

Why Does Music Evoke Strong Emotions?

Although much is known about the brain mechanisms underlying music perception and cognition, there is much work to be done in understanding aesthetic responses to music: Why does music make us feel the way we do? Why does it make us feel anything? In the article under discussion, the authors suggest that the brain’s own endogenous opioids mediate musical emotion, using the hypothesis of naltrexone-induced musical anhedonia. They conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music and that music uses the same reward pathways as food, drugs, and sexual pleasure. Their findings add to the growing body of evidence for the evolutionary biological substrates of music.

Scientific and Design Understandings of Aesthetics

User Experience (UX) extends the construct of usability by an additional focus on emotion, motivation and aesthetics. An emphasis on aesthetics has been undertaken to a greater extent by design disciplines than by science. The present review examines both design and scientific approaches to aesthetics in order to integrate the two approaches and identify research opportunities that could result in science based design principals. The review of design approaches to aesthetics indicates the primary importance of balance as an element of design. Accordingly, research on the role of balance in producing aesthetic responses from users is a reasonable starting point for a program of research. Additionally, the analysis of aesthetic metrics and individual differences in aesthetic preferences in scientific research are discussed as possible collaboration areas for designers.

The Metaphor of Sweetness in Medieval and Modern Music Listening

Historical listening has long been a topic of interest for musicologists. Yet, little attention has been given to the systematic study of historical listening practices before the common practice era (c. 1700–present). In the first study of its kind, this research compared a model of medieval perceptions of “sweetness” based on writings of medieval music theorists with modern day listeners’ aesthetic responses. Responses were collected through two experiments. In an implicit associations experiment, participants were primed with a more or less consonant musical excerpt, then presented with a sweet or bitter target word, or a non-word, on which to make lexical decisions. In the explicit associations experiment, participants were asked to rate on a three-point Likert scale perceived sweetness of short musical excerpts that varied in consonance and sound quality (male, female, organ). The results from these experiments were compared to predictions from a medieval perception model to investigate whether early and modern listeners have similar aesthetic responses. Results from the implicit association test were not consistent with the predictions of the model, however, results from the explicit associations experiment were. These findings indicate the metaphor of sweetness may be useful for comparing the aesthetic responses of medieval and modern listeners.

What is Videogame Formalism? Exploring the Pillars of Russian Formalism for the Study of Videogames

This article provides a general overview of the theoretical foundations of formalism to assess their usefulness for the study of videogames and thereby establish grounds for a more robust approach. After determining that formalism has been used as a go-to term for a variety of ontological and methodological approaches in game studies, this article draws more specifically from Russian Formalism to use the label for a functionalist approach interested in how formal devices in videogames work to cue aesthetic responses. Through an exploration of three pillars of Russian Formalism, a videogame formalism emerges that focuses on the workings of the game as a machine while still taking the aesthetic player response as the methodological starting point and acknowledging the importance of synchronic and diachronic historical perspectives in establishing the functioning of game devices.

Appreciation of Artistic Genres in Children with Different Perceptual, Contextual and Analytic Intelligence

Children feel wonder and excitement while perceiving an artwork and their aesthetic responses are evident through their spontaneous expressions. During this process, children understand multiple interpretations of familiar themes. Children’s descriptions of artworks are categorised into three levels of appreciation namely, perceptual level, contextual level and analytical level. The objective of the present study is to explore children’s appreciation of art. The quantitative study investigates children’s descriptions of artworks at various levels of art appreciation. The study employs sixty grade IX children from the state of Telangana. The sample selected include equal number of boys and girls from rural and urban areas and they are in the age group of 13-15 years. The stimuli used in the study are artworks depicting landscapes selected from three artistic genres of representational, semi-representational and abstract artworks. Images of artworks are presented randomly to children to elicit their responses. The results of the study showed that representational artworks are better appreciated by children than semi-representational and abstract artworks. The analysis of children’s expressions of artworks at various levels of appreciation reveals that for all three genres of artworks, children are at the perceptual level of appreciation. Statistical analysis of the results illustrates that there are statistically significant differences in appreciation at the perceptual, contextual, and analytical levels of appreciation of three genres of artworks. The findings of the study may be used by educators in providing art learning experiences to children.

Fashion as an Aesthetic Form of Life

Fashion is an aesthetic practice that concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein’s later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of “form of life” with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a “form of life”. Specifically, I shall argue that fashion is an “aesthetics form of life” which structurally employs a language of an aesthetic type ––one with a specific grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identification/diversification typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a “form of life”, and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein’s aesthetic notions can coherently be related to fashion as well: concepts such as ‘aesthetic reaction’, ‘gesture’, and ‘correctness’ will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.