Dr. Joerg Fingerhut
Profil
Forschungsthemen5
Die Emotionale Stadt. Eine transdisziplinäre, bürgerwissenschaftliche Untersuchung von urbanen Räumen
Quelle ↗Förderer: Berlin University Alliance (BUA) Zeitraum: 07/2021 - 06/2022 Projektleitung: Dr. Joerg Fingerhut, Dr. Nadja Kabisch
EU: Art and Research on Transformations of Individuals and Societies (ARTIS)
Quelle ↗Förderer: Horizon 2020: Research and Innovation Action (RIA) Zeitraum: 02/2020 - 01/2025 Projektleitung: Dr. Joerg Fingerhut
Exploring and Designing Urban Density. Neurourbanism as a Novel Approach in Global Mental Health
Quelle ↗Förderer: Berlin University Alliance (BUA) Zeitraum: 07/2022 - 10/2026 Projektleitung: Dr. Joerg Fingerhut
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
Quelle ↗Förderer: Fritz Thyssen Stiftung Zeitraum: 01/2026 - 12/2028 Projektleitung: Dr. Joerg Fingerhut
Humboldt-Forschungsstipendium Frau Dr. Francesca D'Alessandris
Quelle ↗Förderer: Alexander von Humboldt-Stiftung: Forschungskostenzuschuss Zeitraum: 02/2026 - 01/2028 Projektleitung: Dr. Joerg Fingerhut
Mögliche Industrie-Partner10
Stand: 26.4.2026, 19:48:44 (Top-K=20, Min-Cosine=0.4)
- 5 Treffer63.6%
- Zuwendung im Rahmen des Programms „exist – Existenzgründungen aus der Wissenschaft“ aus dem Bundeshaushalt, Einzelplan 09, Kapitel 02, Titel 68607, Haushaltsjahr 2026, sowie aus Mitteln des Europäischen Strukturfonds (hier Euro-päischer Sozialfonds Plus – ESF Plus) Förderperiode 2021-2027 – Kofinanzierung für das Vorhaben: „exist Women“T63.6%
- Zuwendung im Rahmen des Programms „exist – Existenzgründungen aus der Wissenschaft“ aus dem Bundeshaushalt, Einzelplan 09, Kapitel 02, Titel 68607, Haushaltsjahr 2026, sowie aus Mitteln des Europäischen Strukturfonds (hier Euro-päischer Sozialfonds Plus – ESF Plus) Förderperiode 2021-2027 – Kofinanzierung für das Vorhaben: „exist Women“
- 46 Treffer58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion UnderstandingP58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion Understanding
- 44 Treffer58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion UnderstandingP58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion Understanding
- 43 Treffer58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion UnderstandingP58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion Understanding
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion UnderstandingP58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion Understanding
- 43 Treffer58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion UnderstandingP58.9%
- Promoting Deaf and Hard of Hearing Children's Theory of Mind and Emotion Understanding
- 3 Treffer57.3%
- Design & Implementierung eines neuronalen Netzwerks für die Personendetektion (Transferbonus)P57.3%
- Design & Implementierung eines neuronalen Netzwerks für die Personendetektion (Transferbonus)
- 10 Treffer56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other StrategiesP56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other Strategies
- 12 Treffer56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other StrategiesP56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other Strategies
- 12 Treffer56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other StrategiesP56.6%
- Validating C. Elegans Healthspan Model for Better Understanding Factors Causing Health and Disease, to Develop Evidence Based Prevention, Diagnostic, Therapeutic and Other Strategies
Publikationen25
Top 25 nach Zitationen — Quelle: OpenAlex (BAAI/bge-m3 embedded für Matching).
The Lancet Psychiatry · 120 Zitationen · DOI
The Monist · 92 Zitationen · DOI
Abstract We define aesthetic emotions as emotions that underlie the evaluative assessment of artworks. They are separated from the wider class of art-elicited emotions. Aesthetic emotions historically have been characterized as calm, as lacking specific patterns of embodiment, and as being a sui generis kind of pleasure. We reject those views and argue that there is a plurality of aesthetic emotions contributing to praise. After presenting a general account of the nature of emotions, we analyze twelve positive aesthetic emotions in four different categories: emotions of pleasure, contemplation, amazement, and respect. The emotions that we identify in each category, including feelings of fluency, intrigue, wonder, and adoration, have been widely neglected both within aesthetics and in emotion research more broadly.
Progress in brain research · 87 Zitationen · DOI
Computers in Human Behavior · 76 Zitationen · DOI
AI has captured the artworld, and, increasingly, humans' engagement with many forms of media. Computer-generated art sells for millions at auctions; artists routinely use algorithms to generate aesthetic materials. However, to capture the impact of such works and our relationships with them, we need to better understand the kinds of responses we make to AI/computer-generated images. Here, we consider whether and, if so, to what extent humans report feeling emotions when engaging computer-generated art, or even ascribe intentionality behind those feelings. These are emerging—and also long-standing—points of controversy, with critical arguments that this should not occur, thus marking potential distinctions between artificial and ‘real’ human productions. We tested this by employing visually similar abstract, black-and-white artworks, made by a computer (RNG) or by human artists intentionally aiming at transmitting emotions. In a 2 × 2 design, participants (N = 48) viewed the art, preceded by primes about human/computer provenance (true, 50% of cases). Contrary to critical suggestions, participants almost always reported emotions and ascribed intentionality, independent of the prime given. Interestingly, they did report stronger emotions when the work actually was made by a human. We discuss implications for our understanding of art engagements and future developments regarding computer-generated digital interactions.
The Aesthetic Self. The Importance of Aesthetic Taste in Music and Art for Our Perceived Identity
2021Frontiers in Psychology · 65 Zitationen · DOI
To what extent do aesthetic taste and our interest in the arts constitute who we are? In this paper, we present a series of empirical findings that suggest an <i>Aesthetic Self Effect</i> supporting the claim that our aesthetic engagements are a central component of our identity. Counterfactual changes in aesthetic preferences, for example, moving from liking classical music to liking pop, are perceived as altering us as a person. The Aesthetic Self Effect is as strong as the impact of moral changes, such as altering political partisanship or religious orientation, and significantly stronger than for other categories of taste, such as food preferences (Study 1). Using a multidimensional scaling technique to map perceived aesthetic similarities among musical genres, we determined that aesthetic distances between genres correlate highly with the perceived difference in identity (Study 2). Further studies generalize the Aesthetic Self Effect beyond the musical domain: general changes in visual art preferences, for example from more traditional to abstract art, also elicited a strong Self Effect (Study 3). Exploring the breadth of this effect we also found an <i>Anaesthetic Self Effect.</i> That is, hypothetical changes from aesthetic indifference to caring about music, art, or beauty are judged to have a significant impact on identity. This effect on identity is stronger for aesthetic fields compared to leisure activities, such as hiking or playing video games (Study 4). Across our studies, the Anaesthetic Self Effect turns out to be stronger than the Aesthetic Self Effect. Taken together, we found evidence for a link between aesthetics and identity: we are aesthetic selves. When our tastes in music and the arts or our aesthetic interests change we take these to be transformative changes.
PLoS ONE · 65 Zitationen · DOI
One key feature of film consists in its power to bodily engage the viewer. Previous research has suggested lens and camera movements to be among the most effective stylistic devices involved in such engagement. In an EEG experiment we assessed the role of such movements in modulating specific spectators´ neural and experiential responses, likely reflecting such engagement. We produced short video clips of an empty room with a still, a zooming and a moving camera (steadicam) that might simulate the movement of an observer in different ways. We found an event related desynchronization of the beta components of the rolandic mu rhythm that was stronger for the clips produced with steadicam than for those produced with a still or zooming camera. No equivalent modulation in the attention related occipital areas was found, thus confirming the sensorimotor nature of spectators´ neural responses to the film clips. The present study provides the first empirical evidence that filmic means such as camera movements alone can modulate spectators' bodily engagement with film.
Philosophical Transactions of the Royal Society B Biological Sciences · 42 Zitationen · DOI
Evaluative concepts qualify as abstract because they seem to go beyond what is given in experience. This is especially clear in the case of moral concepts. Justice, for example, has no fixed appearance. Less obviously, aesthetic concepts may also qualify as abstract. The very same sensory input can be regarded as beautiful by one person and ugly by another. Artistic success can also transcend sensory accessible features. Here, we focus on moral badness and aesthetic goodness and argue that both can be grounded in emotional responses. Emotions, in turn, are grounded in bodily perceptions, which correspond to action tendencies. When we conceptualize something as good or bad (whether in the moral or aesthetic domain), we experience our bodily responses to that thing. The moral and aesthetic domains are distinguished by the emotions that they involve.This article is part of the theme issue 'Varieties of abstract concepts: development, use and representation in the brain'.
The MIT Press eBooks · 34 Zitationen · DOI
Over the last decade, the role of the spectators’ body has become considerably more important in theoretical as well as experimental approaches to film perception. However, most positions focus on how cinema has adapted to the spectator’s body over time, that is, to the basic principles of human perception and cognition, in developing its immersive power. This article presents the latest contributions to this topic, while also providing a new stance regarding the relationship between the mind and movies. Based on selected research from embodied approaches to cognition and picture perception, we suggest that humans learn to see film by integrating filmic means into their body schemas, and through this process develop a “filmic body”, available to them during film watching and, possibly, also off screen. Film language and film cognition are plastic products of mutual influence between films and embodied agents, and thereby move the medium towards novel filmic means and us toward novel experiences. We propose a number of research designs for further exploring these claims.
Empirical Studies of the Arts · 31 Zitationen · DOI
Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.
Frontiers in Psychology · 29 Zitationen · DOI
This paper argues that the still-emerging paradigm of situated cognition requires a more systematic perspective on media to capture the enculturation of the human mind. By virtue of being media, cultural artifacts present central experiential models of the world for our embodied minds to latch onto. The paper identifies references to external media within <i>embodied, extended, enactive</i>, and <i>predictive</i> approaches to cognition, which remain underdeveloped in terms of the profound impact that media have on our mind. To grasp this impact, I propose an enactive account of media that is based on expansive habits as media-structured, embodied ways of bringing forth meaning and new domains of values. We apply such habits, for instance, when seeing a picture or perceiving a movie. They become established through a process of reciprocal adaptation between media artifacts and organisms and define the range of viable actions within such a media ecology. Within an artifactual habit, we then become attuned to a specific media work (e.g., a TV series, a picture, a text, or even a city) that engages us. Both the plurality of habits and the dynamical adjustments within a habit require a more flexible neural architecture than is addressed by classical cognitive neuroscience. To detail how neural and media processes interlock, I will introduce the concept of <i>neuromediality</i> and discuss radical predictive processing accounts that could contribute to the externalization of the mind by treating media themselves as generative models of the world. After a short primer on general media theory, I discuss media examples in three domains: pictures and moving images; digital media; architecture and the built environment. This discussion demonstrates the need for a <i>new cognitive media theory</i> based on enactive artifactual habits-one that will help us gain perspective on the continuous re-mediation of our mind.
Projections · 29 Zitationen · DOI
I will argue that the ambition to provide a naturalized aesthetics of film in Murray Smith’s Film, Art, and the Third Culture is not fully matched by the actual explanatory work done. This is because it converges too much on the emotional engagement with character at the expense of other features of film. I will make three related points to back up my claim. I will argue (1) that Smith does not adequately capture in what ways the phenomenon of seeing-in, introduced early in the book, could explain our complex engagement with moving images; (2) that because of this oversight he also misconstrues the role of the mirror neuron system in our engagement with filmic scenes; and (3) that an account of embodied seeing-in could be a remedy for the above. In order to demonstrate the latter point, I will show how such an account could contribute to the analysis of a central sequence in Alfred Hitchcock’s Strangers on a Train (1951) that Smith also discusses.
PLoS ONE · 23 Zitationen · DOI
As we identify with characters on screen, we simulate their emotions and thoughts. This is accompanied by physiological changes such as galvanic skin response (GSR), an indicator for emotional arousal, and respiratory sinus arrhythmia (RSA), referring to vagal activity. We investigated whether the presence of a cinema audience affects these psychophysiological processes. The study was conducted in a real cinema in Berlin. Participants came twice to watch previously rated emotional film scenes eliciting amusement, anger, tenderness or fear. Once they watched the scenes alone, once in a group. We tested whether the vagal modulation in response to the mere presence of others influences explicit (reported) and implicit markers (RSA, heart rate (HR) and GSR) of emotional processes in function of solitary or collective enjoyment of movie scenes. On the physiological level, we found a mediating effect of vagal flexibility to the mere presence of others. Individuals showing a high baseline difference (alone vs. social) prior to the presentation of film, maintained higher RSA in the alone compared to the social condition. The opposite pattern emerged for low baseline difference individuals. Emotional arousal as reflected in GSR was significantly more pronounced during scenes eliciting anger independent of the social condition. On the behavioural level, we found evidence for emotion-specific effects on reported empathy, emotional intensity and Theory of Mind. Furthermore, people who decrease their RSA in response to others' company are those who felt themselves more empathically engaged with the characters. Our data speaks in favour of a specific role of vagal regulation in response to the mere presence of others in terms of explicit empathic engagement with characters during shared filmic experience.
Neurourbanistik – ein methodischer Schulterschluss zwischen Stadtplanung und Neurowissenschaften
2016Die Psychiatrie · 23 Zitationen · DOI
Zusammenfassung Hintergrund: Urbanisierung gehört zu den wichtigsten globalen Veränderungen, denen die Menschheit in den kommenden Jahrzehnten ausgesetzt sein wird. Diese Entwicklung ist rasant – und sie ist gesundheitsrelevant, mit weit reichenden Konsequenzen für unser psychisches Befinden. Einige stressassoziierte psychische Erkrankungen zeigen ein erhöhtes Auftreten bei Stadtbewohnern. Methode: Es ist daher höchste Zeit, den Einfluss von Stadtleben auf das psychische Wohlbefinden sowie die Rolle urbaner Stressoren besser zu verstehen. Hierzu ist ein methodischer Schulterschluss zwischen Architektur, Stadtplanung, Neurowissenschaften und Medizin notwendig, für den wir den Begriff der „Neurourbanistik“ vorschlagen. Neurourbanistik als neue akademische Perspektive kann dazu beitragen, angemessen und effektiv auf die Herausforderungen einer urbanisierten Welt zu reagieren. Die Themen neurourbanistischer Forschung umfassen dabei Grundlagenforschung, Epidemiologie und Public Health genauso wie experimentelle Stressforschung und Präventionsforschung. Ziel: Ziel ist, ein Lebensumfeld zu schaffen, welches die Resilienz und psychische Gesundheit von Stadtbewohnern und urbaner Gemeinschaften stärkt.
19 Zitationen
Beim Stichwort »Kognition« denken die meisten an das Gehirn, Computermodelle oder Informationsverarbeitung. In der realen Welt treffen wir aber immer nur auf Wesen mit Korpern, die in eine Umwelt eingebunden und in ihr aktiv sind. Kognition findet nicht im Kopf statt, sondern in der Welt. So lautet der Grundgedanke der Philosophie der Verkorperung. Die Hinwendung zu Korper und Umwelt stellt eine der vielleicht weitreichendsten Neuorientierungen der modernen Kognitionswissenschaft und Philosophie dar, die auch unser Verstandnis von Wissenschaft und Kultur pragen wird. Der Band versammelt die Grundlagentexte zu diesem Thema zum ersten Mal in deutscher Sprache.
Frontiers in Psychology · 16 Zitationen · DOI
Recurrent, unvarying, and seemingly purposeless patterns of action and cognition are part of normal development, but also feature prominently in several neuropsychiatric conditions. Repetitive stereotyped behaviors (RSBs) can be viewed as exaggerated forms of learned habits and frequently correlate with alterations in motor, limbic, and associative basal ganglia circuits. However, it is still unclear how altered basal ganglia feedback signals actually relate to the phenomenological variability of RSBs. Why do behaviorally overlapping phenomena sometimes require different treatment approaches-for example, sensory shielding strategies versus exposure therapy for autism and obsessive-compulsive disorder, respectively? Certain clues may be found in recent models of basal ganglia function that extend well beyond action selection and motivational control, and have implications for sensorimotor integration, prediction, learning under uncertainty, as well as aesthetic learning. In this paper, we systematically compare three exemplary conditions with basal ganglia involvement, obsessive-compulsive disorder, Parkinson's disease, and autism spectrum conditions, to gain a new understanding of RSBs. We integrate clinical observations and neuroanatomical and neurophysiological alterations with accounts employing the predictive processing framework. Based on this review, we suggest that basal ganglia feedback plays a central role in preconditioning cortical networks to anticipate self-generated, movement-related perception. In this way, basal ganglia feedback appears ideally situated to adjust the salience of sensory signals through precision weighting of (external) new sensory information, relative to the precision of (internal) predictions based on prior generated models. Accordingly, behavioral policies may preferentially rely on new data versus existing knowledge, in a spectrum spanning between novelty and stability. RSBs may then represent compensatory or reactive responses, respectively, at the opposite ends of this spectrum. This view places an important role of aesthetic learning on basal ganglia feedback, may account for observed changes in creativity and aesthetic experience in basal ganglia disorders, is empirically testable, and may inform creative art therapies in conditions characterized by stereotyped behaviors.
The Journal of Positive Psychology · 14 Zitationen · DOI
Frontiers in Psychology · 11 Zitationen · DOI
Installation art, with its immersive and participatory character, has been argued to require the use and awareness of the body, which potentially constitute key parts of the artwork's experience and appreciation. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. However, the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body's role in the experience of Tomás Saraceno's <i>in orbit</i> installation. Based on a list of self-report items created from a review of the theoretical literature, we-for the first time-captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors (<i>N</i> = 230) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. Network analysis of the items determined four communities related to "interoception," "presence," "disturbance," and "proprioception." Proprioception (e.g., awareness of balance/movement/weight) turned out to be a significant determinant of art appreciation in our study, and, together with "disturbing" body experiences (feeling awkward/watched/chills), coincided with transformation. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general.
Cambridge University Press eBooks · 11 Zitationen · DOI
How do cultural artifacts influence the ways we experience and act? In this chapter I propose that cognition is cultural tout court and that habits provide a central link between human organisms and the sociocultural environment. I will defend an enactive account of habits that sees them as expansive in the temporal (they relate us to a history of sociocultural interactions) and spatial sense (they are co-constituted by our brains, bodies, and cultural artifacts). This account is based on Dewey's pragmatist–organicist concept of habits that rigorously anchors experience in culture. I will trace cultural factors in Dewey's philosophy and 4E (embodied, embedded, enacted, extended) cognitive science with a focus on pervasive artifacts – such as architecture, pictures, and moving images. Such artifacts have become part of our habits of perceiving. I finally situate artifactual habits within recent predictive processing theories that claim to provide the corresponding neuroscientific theory to our cultural minds.
Journal of Environmental Psychology · 10 Zitationen · DOI
The migration of individuals to urban centers in the last century has coincided with a rise in stress-related mental health issues among city dwellers compared to their rural counterparts. Neurourbanism, a burgeoning field, seeks to comprehend the determinants of individual well-being within the urban context. This study investigated the impact of urban density on subjective emotional experiences with a focus on how urban density factors are operationalized in this research field. Using a remote desktop protocol coupled with eye tracking technology, we presented participants with realistic urban stimuli from Berlin, Germany, to assess gaze patterns and subjective responses. Following a two-step analytical approach, we first used a two-factorial design based on low/high built density and absent/present greenery, reflecting the common approach to operationalizing urban density. Subsequently, semantic segmentation of the stimuli was performed, providing a more fine-grained, continuous quantification of density factors allowing for a comparison of this approach with the first categorical analysis. Lastly, individual gaze patterns were exploratively analyzed to predict the impact of directed attention to different classes of urban density on subjective experiences. Dichotomous classification replicated previous findings indicating that high built density was associated with more negative subjective ratings compared to low density, and images lacking greenery received more negative ratings than those with green spaces. Using a continuous quantification of urban density factors and adding additional object classes (cars, people, sky) led to different results compared to the dichotomous approach. Gaze patterns only partially echoed subjective ratings, suggesting urban density factors influence ratings via a general urban scene impression without the need for directed attention towards them. These findings underscore the multifaceted influence of density factors on emotional appraisal in urban spaces, emphasizing the importance of chosen methods. The study demonstrates that fine-grained analyses of urban density factors enhance our understanding of how the urban environment affects the well-being of city dwellers.
SHILAP Revista de lepidopterología · 10 Zitationen · DOI
In this paper, I review recent enactive approaches to art and aesthetic experience. Radical enactivists (Hutto, 2015) claim that our engagement with art is extensive, in the sense that it is non-contentful and artifact-including. Gallagher (2011) defends an embodied-enactive account of the specific kind of affordances artworks provide. For Noë (2015) art is a reorganizational practice. Each of these accounts claims that empirical (neuro)aesthetics is incapable of capturing the art-related engagement they want to highlight. While I agree on the relational and enactive nature of the mind and see the presented theories as important contributions to our understanding of art and aesthetics, I will argue that their dismissal of empirical aesthetics is misguided on several counts. A more qualified look can reveal relevant empirical research for claims enactive theorists should be interested in. Their criticism is either too general regarding the empirical methods employed or based on philosophical claims that themselves can be subjected to empirical scrutiny.
Psychology of Aesthetics Creativity and the Arts · 9 Zitationen · DOI
Empirical Studies of the Arts · 7 Zitationen · DOI
Art-viewing is a defining component of society and culture, in part because the experience involves a wide-range and nuanced configuration of emotional and cognitive responses. Precisely because of this complexity, however, questions of the actual nature, scope, and variety of art experience remain largely unanswered: what kinds of patterns do we exhibit, how do various components go together, and can these be distilled into shared experiential outcomes? We introduce an exploratory study based on 345 individuals’ unique experiences with one of three sets of artworks. Experiences were assessed via 46 affective and cognitive items based on a recent model, with individuals reporting to what degree they felt each during their encounter. Network and latent profile analyses revealed five patterns, aligning to a Harmonious , Facile , Transformative , and two Negative outcomes. These largely supported model hypotheses, connected to specific appraisals, and could be found, although with varying probability, across individual viewers and artworks.
7 Zitationen · DOI
Art viewing has been increasingly seen as having benefits for well-being. However, research on these impacts is disparate, and our understanding of the processes that underlie the impact of art viewing is underdeveloped. We present a systematic review (CRD42022296890), which critically evaluates the evidence of the well-being effects of art viewing, summarizes the characteristics of art viewing experiences and study designs, and presents a thematic analysis of mechanisms. CINAHL, EBSCOhost, Scopus, and Pubmed were searched, and 38 papers were included, with a total of N = 5,092 participants. Quantitative synthesis revealed a diversity of schedules, components, and outcomes. Further, more rigorous methodology is needed, as less than a quarter included control conditions. However, eudemonic well-being emerged as understudied yet had convergent evidence of effect. The thematic analysis revealed affective, cognitive, social, self-transformative, and resilience-building mechanisms. We provide reporting guidelines and a detailed database of included articles for future researchers.
6 Zitationen · DOI
Embodied cognition claims that the way we move our body is central for experience. Exploring dimensions of bodily engagement should therefore also be central for understanding the experience of viewing and evaluating art. However, in both laboratory and in more ecologically-valid gallery studies, little attention has been paid to the actual ways viewers move in front of art—where they stand, how they approach or shift positions—and how this impacts their experiences. This paper aims to close this gap by demonstrating a new paradigm in a gallery-like setting, in which we tracked movements of participants that engaged an abstract artwork via infrared cameras. We also captured their viewing behavior via mobile eye tracking and collected self-reported art appraisals, cognitive and emotional phenomenal factors, as well as subjective awareness of their bodies and physical engagement. Via correlational analysis, based on a theoretical review of past literature and arguments regarding compelling movement aspects, we consider the relation of a broad range of objective and subjective movement aspects to reported art experiences. We also—for the first time—define basic, shared patterns of global movement that could be related to different art appraisals and emotional experiences employing a bottom-up statistical analysis using principal component and cluster analyses. As a proof-of-concept paper we identify the importance and explanatory advantages of our approach both for a more embodied, enactive understanding of art engagements, and as a practical guideline for future empirical aesthetics, art, and museum research.
Art & Perception · 6 Zitationen · DOI
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, 5 th installment of VSAC took place in Berlin, August 25 th -27 th , 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.
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Exploring and Designing Urban Density. Neurourbanism as a Novel Approach in Global Mental Health
university
Exploring and Designing Urban Density. Neurourbanism as a Novel Approach in Global Mental Health
university
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
university
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
university
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
university
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
university
EU: Art and Research on Transformations of Individuals and Societies (ARTIS)
university
EU: Art and Research on Transformations of Individuals and Societies (ARTIS)
university
FTS: Aesthetischer Kognitivismus in der Philosophie und emprischen Studien zur Kunst
university
EU: Art and Research on Transformations of Individuals and Societies (ARTIS)
university
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