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The emotional feeling of beauty, or an aesthetic experience, does not have a valence emotional undercurrent. Rather it is general cognitive arousal due to the fluent processing of a novel stimuli. [11] Some authors believe that aesthetic emotions is enough of a unique and verifiable experience that it should be included in general theories of ...
The analysis of individual experience and behavior based on experimental methods is a central part of experimental aesthetics. In particular, the perception of works of art, [7] music, or modern items such as websites [8] or other IT products [9] is studied.
The International Association of Empirical Aesthetics (IAEA) is an organization of researchers who use scientific methods to investigate aesthetic experience and aesthetic behavior in a wide variety of domains, including encounters with beauty, visual art, music, literature, film, theater, philosophy, and museum behavior.
It examines topics such as art works, aesthetic experience, and aesthetic judgment. [15] Aesthetic experience refers to the sensory contemplation or appreciation of an object (not necessarily a work of art), while artistic judgment refers to the recognition, appreciation or criticism of art in general or a specific work of art. In the words of ...
The final import is intellectual, but the occurrence is emotional as well. Aesthetic experience cannot be sharply marked off from other experiences, but in an aesthetic experience, structure may be immediately felt and recognized, there is completeness and unity and necessarily emotion. Emotion is the moving and cementing force.
Empirical aesthetics takes a scientific approach to the study of aesthetic experience of art, music, or any object that can give rise to aesthetic judgments. [2] Neuroesthetics is a term coined by Semir Zeki in 1999 [ 3 ] and received its formal definition in 2002 as the scientific study of the neural bases for the contemplation and creation of ...
J L Masson and M V Patwardhan, who have collected the original manuscripts and translated Abhinavagupta's work, observe: the audience undergoes transcendental experience, which is basic to all aesthetic experience in a play based on śāntarasa. [5] It was not included in the list of rasas mentioned by Bharata in his epic Nāṭyaśāstra.
The Aesthetic Mind: Philosophy and Psychology is a 2011 book edited by Elisabeth Schellekens and Peter Goldie. The contributors try to provide a new understanding of aesthetics and the experience of art based on philosophical reflections and evidence from empirical sciences .