"The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field"-- Provided by publisher

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Tinio, Pablo P.L.; Smith, Jeffrey K.;

Pablo P. L. Tinio; Jeffrey K. Smith

Cambridge handbooks in psychology, Première édition brochée en 2017, Cambridge, 2014

Cambridge handbooks in psychology, 1. publ, Cambridge, 2014

Cambridge handbooks in psychology, New York, 2014

United Kingdom and Ireland, United Kingdom

Illustrated, 2014-10-30

Illustrated, US, 2014

lg2692099

producers:
Acrobat Distiller 10.1.7 (Windows)

Memory of the World Librarian: Slowrotation

Cover 1
Half-title 3
Title page 5
Copyright information 6
Dedication 7
Table of contents 9
List of figures 12
List of Tables 17
List of boxes 18
Contributors 19
Part I Concepts, theories and methods 29
1 Introduction by the editors 31
2 Empirical aesthetics: hindsight and foresight 34
What are the challenges? 36
Fechner's psychophysical theory 37
Arnheim's Gestalt theory 40
Berlyne's psychobiological theory 43
Martindale's neural network theory 45
Contemporary models 48
Processing fluency 48
Information processing model of aesthetic experience 50
Framework for the psychology of aesthetics 51
Current challenges 52
Universal versus contextual approaches to art and aesthetics 53
Creating versus appreciating art and aesthetic objects 55
References 57
3 Philosophy of art and empirical aesthetics: resistance and rapprochement 63
Resistance 63
The methods of speculative aesthetics 65
Aesthetics and the philosophy of art 67
Artistic understanding and appreciation 72
First notes for a rapprochement 74
Rapprochement 75
The neuroscience of dance and film: two case studies 77
Neuroscience of dance 78
Cognitivist film theory 81
Conclusion 83
References 83
4 Theoretical foundations for an empirical aesthetics 88
Pragmatic and aesthetic experiences 88
Two contrasting perspectives: information theory and Gestalt psychology 89
Affective implications 93
The aesthetic episode 94
The reactive mode of response and affective covariation 97
The reflective mode of response and emotional elaboration 98
Summary 99
The roots of empirical aesthetics 100
The empirical narrative 100
The great aesthetic shift 101
Mining the depths of stimulus structure: linear versus painterly dimension 102
Reconciling edges and blobs embedded in fractal structure 102
The time course of aesthetic experience: cognitive and affective implications 103
Experiencing the passage of time in aesthetic episodes 104
Long-term recollections of artworks 105
Searching for emotional and intellectual meaning 105
The roots of pleasure and interest 106
Trait absorption and negative affective state influence aesthetic preferences 107
Reconciling conflicting traditions 108
References 110
5 Aesthetics assessment 114
Assessing aesthetic constructs 115
Objective measures 116
Measures of greatness: creators and creations 117
Characteristics of aesthetic artifacts 117
Objective laboratory tasks 122
Summary: objective measures 124
Subjective measures 124
Quantitative measures: the Consensual Assessment Technique 124
Qualitative measures: open-ended interviews 128
Summary: subjective measures 128
Big questions 129
How to explain human aesthetic judgment, preference and experience 129
How to explain dynamic trends in the evolution of the arts 132
Summary 133
Conclusion 133
References 134
Part II Perspectives and approaches to art and aesthetics 141
6 Beyond perception - information processing approaches to art appreciation 143
What does experimental aesthetics consider as art? 143
Toward an understanding of art: a very brief history of art 148
Psychology of the arts: the artwork and the perceiver, from below and above 150
The object: artworks 151
Perception of art: direct exploration 151
Visual appearance: complexity 152
What parts are visually important? Mapping saliency 154
Aesthetics from above: the perceiver 155
Art-specific features? Artists' styles 156
Search for meaning 157
Extra information from the context: titles 158
Conclusion 161
References 163
7 Psychodynamics and the arts 167
Freud: art as Pleasurable Disguise 168
The ego's role in art 169
The role of object relations theory 170
A critique 172
A successful Freudian analysis of a theme in art 175
A persuasive psychodynamic view of a painter 176
On not being able to paint: an object relations perspective 181
Vermeer's sublime works and the hint of object relations 182
The psychodynamics of reading and viewing, in a controlled setting 184
The psychodynamics of art making 188
Art and its psychodynamics: concluding remarks 192
References 193
8 Evolutionary approaches to art and aesthetics 195
Approaches to the evolution of art and aesthetics 197
Habitat selection 199
Mate choice 199
Acquisition of knowledge 201
Imagination, pretense and fiction 202
Influence over others 203
Relief of tension and anxiety 204
Enhancement of group cohesion and cooperation 205
Art as an exaptation 206
Combinations 207
A new framework for the evolution of art and aesthetics 208
Defining the object of study 209
Assembling the evidence: neuroscience 212
Assembling the evidence: comparative neuroanatomy 214
Assembling the evidence: archaeology 215
Sketching a framework for the evolutionary cognitive neuroscience of art and aesthetics 216
References 218
9 The walls do speak: psychological aesthetics and the museum experience 223
Considering art in the museum context 224
As museum visits begin: characteristics and motivations of museum visitors 225
A typology of visitors to museums 226
What museum visitors are seeking in their visit 228
During museum visits: factors that influence the museum visit 231
Art-related knowledge 231
A side step to the laboratory: physiological responses while looking at art 235
Behaviors within the galleries 237
As museum visits end: future directions in research on museum visitation, art and aesthetics 239
Conclusion 242
References 243
Part III Objects and media 247
10 Empirical investigation of the elements of composition in paintings: a painting as stimulus 249
The structural organization of a painting's composition - an overview 250
First-order pictorial elements of paintings 250
Line 250
Color 253
Holistic second-order perceptual qualities of paintings 256
Complexity 256
Pictorial balance 258
The pictorial depth dimension 260
The semantic level of organization 261
Accessibility of a painting's content and processing fluency 261
Painting styles and subject matter 263
Additional stimulus conditions that influence the perception and aesthetic judgment of paintings 265
The frame 265
The original and reproduction formats of paintings 266
The subjective approach to aesthetics 267
Concluding remarks 268
References 268
11 "Mute, motionless, variegated rectangles": aesthetics and photography 271
Photography as a technical process 271
Image content 272
Photography as an aesthetic skill 273
Photography and time 274
The perception and the aesthetics of light, objects and photographs 274
The ecology of light intensities 275
Image histograms 276
Image quality 280
Patterns of light and shade within photographs 281
Objects in the world 282
The aspect of time 284
The first second 284
Early gaze within photographs 284
The role of the frame 285
Composition 287
Cropping 287
Do people differ in their cropping ability? 288
What determines cropping location? 288
What is the role of expertise? 288
Gestalt theory, balance and photography 289
The role of objects 290
Rule of Thirds 290
An eye in the center 292
Compositional geometry 292
Left and right in photographs 293
Inward bias 293
Devices and desires 294
The ubiquitous 50-mm lens 294
Depth of focus and fake tilt-shift miniaturization 295
Memory and emotion 295
Memory for photographic images 297
Memorable photographs 297
Emotion in photographs and emotions in response to photographs 298
Conclusions 299
References 300
12 Aesthetic responses to design: a battle of impulses 305
The beauty dilemma 305
The function of aesthetics 307
"Attractive things work better" 307
Why do we like what we like? 308
A battle of impulses 309
Multisensory aesthetics 309
The perceptual level: unity-in-variety 310
The cognitive level: typicality in novelty 313
Typicality and familiarity 314
Novelty 315
The MAYA principle 315
The social level: connectedness in uniqueness 316
Interaction and intention 317
A beautiful idea 318
A unified model of aesthetics 319
Conditions affecting the trade-off 320
Proximal versus distant senses 320
Safe versus risky products 320
Public versus private consumption 321
Promotion versus prevention goals 321
Project UMA 321
References 321
13 From music perception to an integrative framework for the psychology of aesthetics 328
Auditory feature extraction 329
Echoic memory and Gestalt formation 331
Minute interval analysis 331
When intelligence comes into play: syntactic structure building 332
Neural correlates of music-syntactic processing 333
Interactions between language- and music-syntactic processing 336
Processing of phrase boundaries 337
Structural reanalysis and repair 337
Vitalization: effects of music on the autonomic and the endocrine system 338
Effects of music on the immune system 339
Premotor processes evoked by music perception 339
Extrapolation to other domains 341
Meaning 341
Extra-musical meaning and the N400 343
Intra-musical meaning and the N5 345
Musicogenic meaning 345
Emotion principles 347
Syntactic processing 351
Intra-musical features 352
Action 353
Social functions 355
Salutary effects 355
Concluding remarks 356
References 358
14 Theater and dance: another pathway to understanding human nature 365
Who is the actor or dancer? 367
Actors 367
Personality 367
Cognitive and social skills 369
Brain 371
Dancers 371
Personality 371
Cognitive and social skills 372
Brain 373
Transfer of arts skills to non-arts skills 374
Theater 374
Academic skills 374
Social skills 375
Creativity 378
Dance 378
Academic skills 378
Social skills 379
Creativity 379
Audience effects 380
Theater 381
Dance 383
Conclusions, gaps and future directions 384
References 386
15 Arts education, academic achievement and cognitive ability 392
Training in the arts and academic achievement 392
Arts and general cognitive ability 396
Arts training and language skills 399
Music training and language skills 399
Drama lessons and language skills 402
Visual arts training, dance training and language skills 402
Arts training and visuospatial skills 403
Conclusions 405
References 405
16 Aesthetics and the built environment: no painting or musical piece can compare 413
Evolving definitions of the built environment 414
The pinnacle of the built environment: architecture 414
Widening the scope: cities 415
Past the pavement: landscapes and the "natural" environment 417
Different perspectives on aesthetics and the built environment 420
The psychological perspective: a focus on internal processes 421
The design perspective: a focus on behavior outcomes 422
Bringing the perspectives together 423
What makes the built environment beautiful? 424
Historical perspectives 425
Intrinsic aesthetic elements 425
Architecture as art and engineering 427
Form and function 428
Complicating factors 430
Art and not art 430
Context: fitting in or standing out 433
Habits and experience 434
Audiovisual representations of the built environment and their limitations 436
The intractable problem of self-selection 436
Current trends 437
Improving medical outcomes with aesthetics 438
Servicescapes: commercial applications of aesthetics in the built environment 438
Streetscapes and landscapes: perspectives from public health and transportation 439
Speculative developments 440
Conclusion 441
The built environment as everything 441
References 442
17 Mirror, mirror on the wall, who ́s the fairest one of all? Influencing factors and effects of facial attractiveness 448
What is attractiveness? 448
Why are faces attractive? 449
What makes faces attractive? 450
Stable factors 450
Averageness 450
Symmetry 451
Sexual dimorphic characteristics 451
Dynamic factors 453
Effects of eye gaze and emotional expression on attractiveness 453
Eye gaze and attractiveness 453
Emotional expression and attractiveness 454
Attractiveness in the brain 455
fMRI studies on facial attractiveness 455
Facial attractiveness and the core system 456
Facial attractiveness and the extended system 457
The time course of responding to facial attractiveness: effects measured using EEG 459
Attractiveness and attention 461
Are attractive faces remembered more? 462
How attractiveness affects our real-world behavior 464
Conclusion 465
References 466
18 An aesthetics of literary fiction 475
One reader reading 476
Literary fiction 478
What happens: four scholars 480
The reader 485
Faulkner: complexity described 488
Literary writers 489
The literature of literary reading: a broad view 492
References 503
Part IV Contemporary issues and debates 507
19 Neuroaesthetics: descriptive and experimental approaches 509
Descriptive neuroaesthetics 510
Parallelism 510
Anecdotal neuropsychology 512
Experimental neuroaesthetics 515
Imaging studies 515
Quantifying the neuropsychology of art 517
Promising directions in neuroaesthetics 520
Conclusion 522
References 523
20 How emotions shape aesthetic experiences 528
What is an emotion? Utilitarian versus aesthetic emotions 530
The component process theory of emotion 532
The component process in aesthetic emotions 532
The cognitive component (appraisal) 532
The physiological activation (arousal) 536
The expressive component 538
The motivational component or tendency for action 540
The subjective experience 541
Conclusion 542
References 543
21 Unusual aesthetic states 547
Traditional aesthetic states 547
Unusual aesthetic states 548
Awe 549
Aesthetic chills 552
Crying and feeling like crying 557
Beauty 559
A pluralistic psychology of aesthetics 563
References 563
22 Personality and aesthetic experiences 568
Aesthetic experiences and the visual arts 569
Early studies 569
Openness to Experience and the visual arts 570
Issues and limitations 573
A brief note on art judgment 574
Aesthetic experiences in other domains 575
Music 575
Books and magazines 577
Film 578
Cross-medium preferences 578
Personality and aesthetic behaviors 579
Conclusion 581
References 583
23 Hokusai and Fuji: cognition, convention and pictorial invention in Japanese pictorial arts 590
Complicity and cognitive stock: Hokusai and his audiences 591
Hokusai, Fuji and pictorial development 596
Hokusai ́s Japanese vision - Yamato-e in ukiyo-e 597
Calligraphic craftsmanship 601
Representational means 605
Pictorial decoration 606
Asobi: Fuji, Hokusai and artistic play 607
The playful potentials of repetition and reflection 607
The playful engagement with media 609
Conclusion 613
References 615
Part V Pulling it all together 617
24 And all that jazz: rigor and relevance in the psychology of aesthetics and the arts 619
Art forms and aesthetics phenomena 619
Methodology: unity in diversity 623
Modeling the gamut of human aesthetic experience 624
Self-reflection, invigoration and future directions 627
References 629
Index 631

2022-02-20