Disinterested attention and aesthetic experience.

Research studies have focused on stimulus features as well as internal or contextual factors to understand aesthetic experience. An important question is the nature of processes that are involved in all aesthetic experiences. One possible process is "disinterested attention" that may be necessary for one to have an aesthetic experience. This can be contrasted with a perceiver who attends to an object or event only in a goal-directed or instrumental or practical manner. It has been claimed that "disinterested attention" involves attention being focused on the aesthetic object or event while being distributed across its features or components. Other ideas have focused on better reallocation of attention over time. The potential nature of attention could be linked to aspects of mindfulness. Studies looking at the effects of mindfulness on aesthetic experience have shown it increases the frequency of having aesthetic experience. The nature of attention needed for an aesthetic experience can be thought of as a form of generosity that could be linked to the notions of a gift. Mindful attention to objects or life as a gift, perhaps enables us to see objects and perhaps life itself in non-instrumental terms resulting in an aesthetic experience.

Physiological audience synchrony in classical concerts linked with listeners' experiences and attitudes.

A series of eleven public concerts (staging chamber music by Ludwig van Beethoven, Brett Dean, Johannes Brahms) was organized with the goal to analyze physiological synchronies within the audiences and associations of synchrony with psychological variables. We hypothesized that the music would induce synchronized physiology, which would be linked to participants' aesthetic experiences, affect, and personality traits. Physiological measures (cardiac, electrodermal, respiration) of 695 participants were recorded during presentations. Before and after concerts, questionnaires provided self-report scales and standardized measures of participants' affectivity, personality traits, aesthetic experiences and listening modes. Synchrony was computed by a cross-correlational algorithm to obtain, for each participant and physiological variable (heart rate, heart-rate variability, respiration rate, respiration, skin-conductance response), how much each individual participant contributed to overall audience synchrony. In hierarchical models, such synchrony contribution was used as the dependent and the various self-report scales as predictor variables. We found that physiology throughout audiences was significantly synchronized, as expected with the exception of breathing behavior. There were links between synchrony and affectivity. Personality moderated the synchrony levels: Openness was positively associated, Extraversion and Neuroticism negatively. Several factors of experiences and listening modes predicted synchrony. Emotional listening was associated with reduced, whereas both structual and sound-focused listening was associated with increased synchrony. We concluded with an updated, nuanced understanding of synchrony on the timescale of whole concerts, inviting elaboration by synchony studies on shorter timescales of music passages.

Beauty in experiment: A qualitative analysis of aesthetic experiences in scientific practice.

A growing literature in philosophy of science focuses on the role of aesthetics in scientific practice, with the experiment recently recognized for its aesthetic value. However, the literature on aesthetics in experimentation grows out of case studies from the history of science, leaving open the question as to how contemporary scientists experience aesthetics in their experimental work. In this paper we offer the first qualitative, empirical analysis of aesthetic experiences regarding experimental practice, drawing from in-depth interviews with 215 scientists in four countries. We identify six categories of aesthetic experience we find in experimentation, their function, and new questions emerging from our study.

The mediating effect of the need for cognition between aesthetic experiences and aesthetic competence in art.

Although the role of aesthetics and aesthetic education in everyday life was discussed as early as the ancient philosophers, the psychological mechanisms shaping the aesthetic quotient have hardly been investigated by empirical studies. The aim of this study was to examine the direct relationship between experience and aesthetic competence, and the mediating role of need for cognition. The study involved 201 Polish adults, aged 18 to 76 (M = 26.40; SD = 11.89), 65% of whom were women. The respondents completed anonymous questionnaires on an online platform. The surveys included a metric, the Aesthetic Competence Scale (ACS), the Aesthetic Experience Questionnaire (AEQ) and the Need for Cognition Scale (NCS). A positive correlation coefficient was obtained between all three variables studied, with need for cognition acting as a mediator in the relationship between experience and aesthetic competence. The findings indicate that individuals reporting intense aesthetic experiences have a higher aesthetic competence if this relationship is mediated by a high need for cognitive effort.

The development of aesthetic experience through virtual and augmented reality.

Emerging technological innovations offer the potential for experiential engagement through virtual scenarios, yet the viability of this approach for educational purposes remains significantly underexplored. This study aims to assess the feasibility of Augmented Reality (AR) and Virtual Reality (VR) technologies in providing users with aesthetic experiences when visiting digital exhibitions. A total of 190 students participated in this investigation. The control group visited traditional exhibits at the Palace Museum in Beijing. This group underwent a survey to evaluate their acquired aesthetic experience. In contrast, the experimental group, comprising 96 students, engaged with VR/AR scenarios at the Palace Museum in Beijing. Accordingly, students in the experimental group were also surveyed to evaluate both their aesthetic experiences and, additionally, their user experiences. The survey results unveiled significant distinctions in aesthetic experiences between students in the control and experimental groups. Moreover, there were notable correlations between individual variables related to user and aesthetic experiences within the experimental group. Furthermore, the study revealed disparities in both user and aesthetic experiences among male and female students. The findings have implications for aesthetic education teachers and officials in the context of developing sound strategies for providing aesthetic experiences to their students. This information is also of interest to employees of museums, exhibitions, and other cultural facilities, who are interested in holding or hold digital exhibitions.

Aesthetic Experience and the Ability to Integrate Beauty: The Mediating Effect of Spirituality.

Background: The ability to integrate beauty (AIB) is the ability to inner transformation including thinking about oneself, perceived phenomena, or the world through exposure to an aesthetic object (or phenomenon). Previous research indicates that the AIB is positively related to aesthetic experience. Still, it is unclear whether spirituality can mediate the relationship between the two variables. Spirituality is understood as an experience of transcendence that relates to the unseen and is "larger than human". The aim of the study was to analyze the relationship between emotional and cognitive experiences related to the reception of art (as the most representative form of beauty) and the ability to connect with spirituality and aesthetic experiences. Methods: The online survey included a sample of N = 195 adults (74% female) between the ages of 18 and 54. The Spirituality Scale (SD-36), the Aesthetic Experience Questionnaire (AEQ) and the Ability to Integrate Beauty Scale (AIBS) were used to test hypotheses. Results: The analysis revealed a statistically significant, moderate relationship between the ability to integrate beauty and both the total aesthetic experience score and the spirituality scale score. The results support the hypothesis that there is a relationship between aesthetic experience in art and spirituality. The study also confirmed the mediating effect of spirituality on the relationship between aesthetic experience and aesthetic intelligence. Conclusion: Individuals with a higher level of spiritual development tend to have a greater ability to integrate beauty and have more intense aesthetic experiences, which in turn may increase their aesthetic intelligence. The results suggest that a deepened spirituality contributes to a greater ability to integrate beauty.

Polish version of the Aesthetic Experience Questionnaire: validation and psychometric characteristics.

Introduction: The purpose of the article is to present the results of works on the Polish version of the Aesthetic Experience Questionnaire (AEQ). The AEQ is a 22-item tool for assessing aesthetic experience in the following dimensions: emotional, cultural, perceptual, understanding, and two dimensions about flow (proximal conditions and flow experience). Methods: In the course of works on the Polish version of the AEQ, 3 independent studies with the participation of more than 800 people were carried out. In addition to the AEQ measurement, the tools included: the Emotion Regulation Strategies for Artistic Creative Activities Scale, the Brief Music in Mood Regulation, the Aesthetic Competence Scale, the Aesthetic Processing Preference Scale, the Need for Cognition Scale, the Center for Epidemiologic Studies - Depression Scale, the Material Values Scale and the Multidimensional Existential Meaning Scale. Results: The results obtained in the three studies through Confirmatory Factor Analysis indicated the compliance of the factor structure of the Polish version of the AEQ with the original and its good psychometric characteristics. It was also shown that the overall result and individual components of the aesthetic experience correlate positively with emotion regulation through artistic creative activities and mood regulation through music, aesthetic competences (music, literature, plastic arts, film), cognitive curiosity and some dimensions of aesthetic processing preferences. The studies also proved a very weak positive relationship between aesthetic experience and meaning of life. The assumption about a negative correlation between aesthetic experience and depression or materialism was not confirmed. Discussion: The Polish version of the AEQ is a credible psychometric measurement and encourages scientists to design research on the psychology of art and aesthetics in the Polish cultural conditions.

Mirror, mirror on the wall, who is the fairest dancer of them all? A naturalistic lens model study on the judgment of dance performance.

Success as a dancer is closely associated with positive dance judgments by perceivers. Although dancers' physical appearance (attractiveness, style) might affect dance judgments beyond dance-specific attributes (technique, expression), they have largely been unconsidered in previous studies. To contribute to a comprehensive explanation of real-life dance judgments, we applied the lens model, an approach explicitly developed to explain the emergence of social judgments by multiple attributes. Therefore, video-records of 70 solo performances were (1) rated regarding dancers' physical appearance, technique, and expression and (2) judged by 33 perceivers. Results of cross-classified mixed-effects models revealed that attributes of all domains were significantly related to dance judgements. Considered simultaneously, however, only dance-specific attributes contributed to the prediction of dance judgments. Additional moderation analyses underscored the importance of perceivers' expertise in judging dance. We discuss the lens model as suitable framework for a naturalistic approach to the study of aesthetic experiences and sports performances.

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's "in orbit".

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 in orbit 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 (N = 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.

The Ability to Integrate Beauty Scale (AIBS): Construction and Psychometric Properties on a Scale for Measuring Aesthetic Intelligence as a Resource for Personal Development.

Background: Ferrucci, a philosopher and psychotherapist, presented an original three-factor aesthetic intelligence concept in his book "Beauty and Soul" (2009). The subject of this article is the presentation of work on the construction of a scale for measuring one of the three dimensions of aesthetic intelligence, the ability to integrate beauty (AIB). This is probably the first attempt to empirically operationalize this concept. Methods: The three independent studies were carried out with a total of 604 participants. The aim of the first study was to develop the AIBS scale and to test its factor structure. During Study 2 and Study 3, we verified the AIBS structure through the confirmatory analysis and checked its convergent and discriminant validity. Results: The outcomes indicate that a one-factor, and seven-item tool is characterized by very good psychometric properties. Moreover, the results suggest that the AIB is indeed positively related to the perception of artworks (6 dimensions of an aesthetic experience), regulation of emotions through artistic creative activities, as well as to aesthetic competencies in art. The AIB is indeed positively related to the greater intensity of light triad traits (humanism, kantianism, faith in humanity) and to the development of the individual in five areas of spirituality. AIB is also only slightly related to the search for meaning and to one dimension of well-being, which is satisfaction and the sense of power.

Choir Singers Without Rehearsals and Concerts? A Questionnaire Study on Perceived Losses From Restricting Choral Singing During the Covid-19 Pandemic.

BACKGROUND: Choir singing is an activity that engages individuals all over the world with a broad demographic representation. Both qualitative and quantitative studies have examined the benefits of the activity but very few have examined the effects when someone loses access to it and stops singing. OBJECTIVES: Examining the governmental and organisational responses precipitated by the COVID-19 pandemic, we asked what happens when a choir singer loses all of their routines associated with regular participation in choir singing. MATERIALS AND METHODS: One national choir organization in Sweden (n = 3163) and one in Norway (n = 1881) were approached with a short survey. This comprised questions relating to the issue "what do you as a choir singer misses the most?" Each participant was asked to rate the importance of a number of elements that pertain to the experience of choir singing. RESULTS: The social aspect of singing emerged as having the strongest weight in terms of perceived loss that is, it was the element that the participants missed the most. Professional singers report that they miss the aesthetic experiences, flow, and all the physical aspects (physical training, voice training, and breathing training) to a greater degree as compared to reports from the amateurs. The importance of aesthetic experiences and physical components appeared to rise with increasing number of years that an individual had engaged with choir singing. CONCLUSION: In the Scandinavian setting, the social aspect has a stronger weight than the other components and this seemed to be more significant in Norway compared to Sweden.

School climate's effect on hospitality department students' aesthetic experience, professional identity and innovative behavior.

This study investigated the effects of school climate and students' aesthetic experience on their professional identity and innovative behavior. A survey was conducted with 385 students from hospitality-related departments of colleges and universities in Hainan, China, and the data were analyzed using a hierarchical linear model (HLM). Using the criteria constituting the students' aesthetic experience scale proposed by Chang, it was found that teacher support can improve students' professional identity; school climate and students' understanding of beauty and full experience contribute to the development of students' innovative behavior; students' understanding of beauty and full experience have mediating effects between teacher support and professional cognition; students' understanding of beauty and full experience have mediating effects between student support and innovative behavior; student support positively moderates the relationships between full experience with professional cognition and students' appraisal of the hospitality industry; and teacher support positively moderates the relationship between students' full experience and professional emotion. Therefore, teacher support under school climate and students' understanding of beauty and full experience under aesthetic experience were the most important factors in enhancing hospitality department students' professional identity and innovative behavior.

The unaffordable and the sublime.

In this paper I examine a set of exceptional aesthetic experiences that remove us from our pragmatic everyday life and involve a specific type of unaffordability. I then extend this notion of unaffordability to experiences of awe and its relation to the sublime. My analysis is guided by considerations of the phenomenologically inspired enactivist approach that supports an affordance-based accounts of aesthetic experience. I review some recent neurophenomenological studies of the experience of awe, and I then sketch out a phenomenology of awe as it approaches the sublime.

Atonal Music as a Model for Investigating Exploratory Behavior.

Atonal music is often characterized by low predictability stemming from the absence of tonal or metrical hierarchies. In contrast, Western tonal music exhibits intrinsic predictability due to its hierarchical structure and therefore, offers a directly accessible predictive model to the listener. In consequence, a specific challenge of atonal music is that listeners must generate a variety of new predictive models. Listeners must not only refrain from applying available tonal models to the heard music, but they must also search for statistical regularities and build new rules that may be related to musical properties other than pitch, such as timbre or dynamics. In this article, we propose that the generation of such new predictive models and the aesthetic experience of atonal music are characterized by internal states related to exploration. This is a behavior well characterized in behavioral neuroscience as fulfilling an innate drive to reduce uncertainty but which has received little attention in empirical music research. We support our proposal with emerging evidence that the hedonic value is associated with the recognition of patterns in low-predictability sound sequences and that atonal music elicits distinct behavioral responses in listeners. We end by outlining new research avenues that might both deepen our understanding of the aesthetic experience of atonal music in particular, and reveal core qualities of the aesthetic experience in general.

The unexplored link between aesthetic perception and creativity: A theory-driven meta-analysis of fMRI studies in the visual domain.

Creative production (related to art-making) and aesthetic appreciation (related to art-viewing) are inherently linked in visual arts, but their relationship has never been explored explicitly in cognitive neuroscience, nor the nature of such connection. The available literature suggests two cognitive processes as possible foundations of these two experiences: motor simulation or inhibitory control. In a meta-analysis of fMRI studies, we addressed this issue: we investigated whether there are shared neurofunctional underpinnings behind aesthetic and creative experiences in the visual domain; further, we examined whether any shared brain activation may reflect either motor simulation or inhibitory processes. A conjunction analysis revealed a common involvement of the pre-SMA in both classes of studies, a brain region, if anything, more concerned with top-down inhibitory motor and volitional cognitive control rather than bottom-up motor simulation. In the art-viewing domain, this finding was primarily driven by figurative rather than abstract art. The methodological limitations in the available literature are discussed together with possible new ways to expand the existing findings.

"Taste typicality" is a foundational and multi-modal dimension of ordinary aesthetic experience.

Aesthetic experience seems both regular and idiosyncratic. On one hand, there are powerful regularities in what we tend to find attractive versus unattractive (e.g., beaches versus mud puddles).1-4 On the other hand, our tastes also vary dramatically from person to person:5-8 what one of us finds beautiful, another might find distasteful. What is the nature of such differences? They may in part be arbitrary-e.g., reflecting specific past judgments (such as liking red towels over blue ones because they were once cheaper). However, they may also in part be systematic-reflecting deeper differences in perception and/or cognition. We assessed the systematicity of aesthetic taste by exploring its typicality for the first time across seeing and hearing. Observers rated the aesthetic appeal of ordinary scenes and objects (e.g., beaches, buildings, and books) and environmental sounds (e.g., doorbells, dripping, and dialtones). We then measured "taste typicality" (separately for each modality) in terms of the similarity between each individual's aesthetic preferences and the population's average. The data revealed two primary patterns. First, taste typicality was not arbitrary but rather was correlated to a moderate degree across seeing and hearing: people who have typical taste for images also tend to have typical taste for sounds. Second, taste typicality captured most of the explainable variance in people's impressions, showing that it is the primary dimension along which aesthetic tastes systematically vary.

SILENCE: Capturing the Feeling of Inner Quietude.

Silent experiences are integral parts of human life, and despite such moments of silence-phenomena may falsely be perceived as moments of "nothings", they are in fact an essential part of human apperception and meaning-making. The significance of moments of silence (an internal, timeless state of being often perceived as solitary, spiritual-mystical, and unconscious, involuntary experiences) and silences (contextual states of temporally oriented and social experiences) is supported by the principles behind the concepts of Gestalten and zero signifiers, in that such absence can lead to greater understanding of meaning than any explicit and direct element ever could. The human experience of life is inseparably linked with the function of apperception as experiencing the presence in a combination with reconstruction of the past and imagination of the future. And as this dynamic across irreversibility of time is in any human experience it is as well present within experiences of silence. Furthermore, is the phenomenon of Einfühlung (the process of feeling in and through others, objects, and oneself) a crucial part of silence-phenomena, as it is uncovered to be connected with both silence as a facilitator of emergence of silence as well as silences affect the act of Einfühlung. Aesthetic experiences can in the form of poetic instants lead to moments of silence, through the human function of Einfühlung. Finally, an analysis of a passage from Lev Vygotsky's personal notebooks will support the line of reasoning the centrality of the existence of silence.

Environing as Embodied Experience-A Study of Outdoor Education as Part of Physical Education.

The development of a re-understanding or re-investigation of body pedagogy is currently prominent in the field of physical education (PE) and sport pedagogy. This goes for the learning of movement capability and health but also in relation to outdoor education (OE). The latter a criticized area for having a one-size-fits-all approach to curriculum, with less attention to what to learn in OE, including aspects of everyday practices of being outdoors. The aim of this study was to explore students aged 15 years, and their meaning making of being outdoors expressed in written stories about a favorite place. Two school year eight classes in a Swedish compulsory school situated in an area with high diversity participated. Through this theory-generated empirical study, written stories were explored as one way of evaluating students' meaning making of outdoor places. By using practical epistemology analysis (PEA) to examine experience operationalized through aesthetic judgements attention is paid to the relation between the student and the situation (their favorite place). The analysis make it possible to discern a sense and meaning making of "being" outdoors as an embodied experience, as a relational whole of the self, others and the environment. Descriptions of aesthetic experiences were analyzed leading to dimensions of environing described as "calm and privacy," "community and togetherness" and "feelings and senses." A favorite place was by all students described as a very local and nearby place accessible in everyday life. The analysis generated understandings of feelings of "fulfillment" and different embodied experiences of what an encounter with an outdoor place or being outdoors could mean. Furthermore, how personal and diverse the meaning making place tends to be and how experience and habits contribute to the students' creation of microenvironments. Dimensions of environing become part of an embodied process. The analysis of the written stories calls for an alternative understanding of what OE can or should consist of. The findings encourage teachers and researchers to consider alternative understandings and practices of OE that highlight and educate students' overall embodied (individual) experiences and learning in OE and PE.

Neural Correlates of Music Listening: Does the Music Matter?

The last decades have seen a proliferation of music and brain studies, with a major focus on plastic changes as the outcome of continuous and prolonged engagement with music. Thanks to the advent of neuroaesthetics, research on music cognition has broadened its scope by considering the multifarious phenomenon of listening in all its forms, including incidental listening up to the skillful attentive listening of experts, and all its possible effects. These latter range from objective and sensorial effects directly linked to the acoustic features of the music to the subjectively affective and even transformational effects for the listener. Of special importance is the finding that neural activity in the reward circuit of the brain is a key component of a conscious listening experience. We propose that the connection between music and the reward system makes music listening a gate towards not only hedonia but also eudaimonia, namely a life well lived, full of meaning that aims at realizing one's own "daimon" or true nature. It is argued, further, that music listening, even when conceptualized in this aesthetic and eudaimonic framework, remains a learnable skill that changes the way brain structures respond to sounds and how they interact with each other.

Beyond Mood and Atmosphere: a Conceptual History of the Term Stimmung.

The last few years have seen increasing research interest in moods and atmospheres. While this trend has been accompanied by growing interest in the history of the word Stimmung in other disciplines, this has not yet been the case within philosophy. Against this background, this paper offers a conceptual history of the word Stimmung, focusing on the period from Kant to Heidegger, as this period is, presumably, less known to researchers working with notions like mood, attunement or atmosphere today. Thus, considering this period might provide conceptual resources not yet considered in current debate. Stimmung has the remarkable feature of encompassing the entire semantic field of mood and atmosphere, insofar as both subjects and objects can literally be in Stimmung. Stimmung might refer to the state or condition of being attuned, which is understood as a dispositional state, as well as the process or act of attuning, which includes self-activating and foreign-determined forms of attuning. The word was first used for the tuning of musical instruments, but was quickly transferred to the fields of aesthetics, psychology, and physiology. This paper will focus on the contrast between the psychological canonization of Stimmung as a type of mental state, and the use of Stimmung as an untranslatable, irreducible metaphor with unique semantic force allowing for original theorizing.