13:30 - 15:00
Talk Session II
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13:30 - 15:00
Mon-HS1-Talk II-
Mon-Talk II-
Room: HS1
Chair/s:
Maria Manolika, Barbara E. Marschallek, Thomas Jacobsen
With the publication of Gustav Theodor Fechner’s Vorschule der Ästhetik, the year 1876 marks the beginning of Experimental Aesthetics, which is the second-oldest branch of Experimental Psychology. In his major work, Fechner suggested the study of aesthetics "from below", applying empirical knowledge. To date, the Experimental Aesthetics enjoys a growing number of researches from different fields of Psychology. The present symposia, therefore, comprise contributions investigating a variety of domains including, for example, live performances, materials, and tattoos, Furthermore, questions of the influence of several stimuli’s and individual’s characteristics, including but not
limited to complexity, memory resources, personality differences, and types of stimuli, are addressed.
Back to the basics for measuring preference of contemporary art
Mon-HS1-Talk II-04
Presented by: Bernadett Palko-Arndt
Bernadett Palko-Arndt 1, 2, Aniko Illes 1
1 Moholy-Nagy University of Art and Design, Hungary, 2 University of Pecs, Hungary
Since 1876 many changes have taken place in the field of experimental psychology. These paradigmatic shifts shaped the science of empirical aesthetics as well. For today, many factors and features have been identified in the process of aesthetic appreciation. The more and more sophisticated theoretical considerations and the improving technics of the research methods have been clearly helped the development of the field. Meanwhile, the main goal of the experimental activities remained faithful to the original idea, namely understanding what happens when someone meets an artwork. Parallel to the scientific developments there is one another challenge contemporary empirical aesthetics needs to face. The concept of art has changed so much during the last century. In 1876 it was adequate to imply oil painting into the research as stimulus, but today a wide variety of firms of art has been appeared such as concept, performative, participative, interactive and technically modified etc. art. We think that considering contemporary art, it is worth a look on the changing scientific methods (especially the measuring methods such as the preference choice tests, Likert scales etc.) in order to see the scope of them currently.
Keywords: measuring preference, contemporary art, art appreciation