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      Empirical aesthetics, the beautiful challenge: An introduction to the special issue on Art & Perception

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          Abstract

          The i-Perception special issue Art & Perception is based on the Art & Perception Conference 2010 in Brussels. Our vision with this conference was to bring together artists and vision scientists from different backgrounds to exchange views and state-of-the-art knowledge on art perception and aesthetics. The complexity of the experience of art and of aesthetic phenomena, in general, calls for specific research approaches, for which interdisciplinarity seems to be key. Following this logic, the special issue Art & Perception contains contributions by artists and vision scientists with different methodological approaches. The contributions span a wide range of topics, but are all centred around two questions: How can one understand art perception and aesthetics from a psychological point of view, and how is this reflected in art itself?

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          Most cited references30

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          All is beautiful? Generality vs. specificity of word usage in visual aesthetics.

          A central problem in the literature on psychological aesthetics is a lack of precision in terminology regarding the description and measurement of aesthetic impressions. The current research project approached the problem of terminology empirically, by studying people's word usage to describe aesthetic impressions. For eight different object classes that are relevant in visual aesthetics, including visual art, landscapes, faces and different design classes, we examined which words people use to describe their aesthetic impressions, and which general conceptual dimensions might underlie similarities and differences between the classes. The results show an interplay between generality and specificity in aesthetic word usage. In line with results by Jacobsen, Buchta, Kohler, and Schroger (2004)beautiful and ugly seem to be the words with most general relevance, but in addition each object class has its own distinct pattern of relevant terms. Multidimensional scaling and correspondence analysis suggest that the most extreme positions in aesthetic word usage for the classes studied are taken by landscapes and geometric shapes and patterns. This research aims to develop a language of aesthetics for the visual modality. Such a common vocabulary should facilitate the development of cross-disciplinary models of aesthetics and create a basis for the construction of standardised aesthetic measures. Copyright © 2011 Elsevier B.V. All rights reserved.
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            Cognitive mechanisms for explaining dynamics of aesthetic appreciation

            For many domains aesthetic appreciation has proven to be highly reliable. Evaluations of facial attractiveness, for instance, show high internal consistencies and impressively high inter-rater reliabilities, even across cultures. This indicates general mechanisms underlying such evaluations. It is, however, also obvious that our taste for specific objects is not always stable—in some realms such stability is hardly conceivable at all since aesthetic domains such as fashion, design, or art are inherently very dynamic. Gaining insights into the cognitive mechanisms that trigger and enable corresponding changes of aesthetic appreciation is of particular interest for psychologists as this will probably reveal essential mechanisms of aesthetic evaluations per se. The present paper develops a two-step model, dynamically adapting itself, which accounts for typical dynamics of aesthetic appreciation found in different research areas such as art history, philosophy, and psychology. The first step assumes singular creative sources creating and establishing innovative material towards which, in a second step, people adapt by integrating it into their visual habits. This inherently leads to dynamic changes of the beholders— aesthetic appreciation.
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              Art and visual perception: A psychology of the creative eye

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                Author and article information

                Contributors
                University of Leuven (KU Leuven), Laboratory of Experimental Psychology, Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: mdorothee.augustin@ 123456psy.kuleuven.be
                University of Leuven (KU Leuven), Laboratory of Experimental Psychology, Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: johan.wagemans@ 123456psy.kuleuven.be
                Journal
                Iperception
                Iperception
                pmed
                i-Perception
                Pion
                2041-6695
                2012
                05 July 2012
                : 3
                : 7
                : 455-458
                Affiliations
                University of Leuven (KU Leuven), Laboratory of Experimental Psychology, Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: mdorothee.augustin@ 123456psy.kuleuven.be
                University of Leuven (KU Leuven), Laboratory of Experimental Psychology, Tiensestraat 102, box 3711, 3000 Leuven, Belgium; e-mail: johan.wagemans@ 123456psy.kuleuven.be
                Article
                10.1068/i0541aap
                3485842
                23145296
                a36c8032-6c5e-4218-a789-31bdb54818f1
                Copyright © 2012 M. D. Augustin, J. Wagemans

                This open-access article is distributed under a Creative Commons Licence, which permits noncommercial use, distribution, and reproduction, provided the original author(s) and source are credited and no alterations are made.

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                Art and Perception

                Neurosciences
                Neurosciences

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