Over an extended period, the art museum prioritized regulating its thermal environment solely for the preservation of artworks, without considering the visitors' aesthetic experience. However, it is ...no longer an exception, given the ongoing development of HVAC systems. This research aims to investigate how museums' thermal environment and the resulting thermal comfort impact visitors' aesthetic experience. The experiment was performed to examine the subjects' aesthetic experience under three temperature conditions: 18 °C, 26 °C, and 32 °C. Subjects experienced VR museum exhibition, and their physiological responses, heart rates and variability were measured. Psychological responses were gathered through thermal comfort votes, and Aesthetic Experience Questionnaire (AEQ). As a result, the thermal comfort votes were highest in the order of 26 °C, 18 °C, and 32 °C. Aesthetic experience responses, measured by AEQ, were highest at 26 °C and lowest at 32 °C. This suggests that subjects enhanced aesthetic experiences in a thermally comfortable environment, while high temperature hindered them. Beyond temperature, factors like thermal sensation and comfort were considered influential in aesthetic experiences. Thermal sensation was found to impact aesthetic experiences in a quadratic manner, and thermal comfort had a positive effect on them. Lastly, physiological responses previously associated with aesthetic experiences showed no significant impact in this study. Only thermal sensation demonstrated a significant influence, attributed to thermoregulation responding to thermal environment changes. In other words, when the thermal environment changes, the physiological response can't reliably indicate aesthetic experiences due to the thermoregulation. This study is significant in proposing unexplored aspects of thermal environments in enhancing aesthetic experiences.
•A thermally comfortable environment can support aesthetic experiences while high temperature could hinder them.•A slightly cool environment benefits cognitive aesthetic experience.•Thermal comfort had a significant positive effect on aesthetic experiences.•Heart rate and heart rate variability can't indicate aesthetic experiences with the change of thermal environment, due to the thermoregulation.
As augmented reality (AR) has been increasingly adopted by various industries as a marketing tool, tourism practitioners have come to recognize its promising potential in staging experiences. Despite ...the extensive discussions around AR's managerial implications, academic inquiry into how to adopt AR technology in museum tourism contexts remains rare. Building on this emerging stream of scholarly literature, the current study attempts to examine the impact of information type (dynamic verbal vs. dynamic visual cues) and augmenting immersive scenes (high vs. low virtual presence) on visitors' evaluation of the AR-facilitated museum experience and their subsequent purchase intentions. Using an experimental approach, the results demonstrate that compared with dynamic visual cues, dynamic verbal cues lead to visitors' higher levels of willingness to pay more and such effect is more salient when environmental augmentation provides a high level of virtual presence. Such effects can be explained by the psychological mechanism of mental imagery.
•This study examines the effects of AR technology's design elements on visitors’ museum experiences and purchasing intentions.•Information type and environmental augmentation were found to jointly influence visitors' willingness to pay a higher price.•Imagery vividness and experiential value were verified astheoretical processes that explain the effects.
This study investigates the relationship between the subjective time experience and aesthetic experience, including bodily sensations, as observers view recordings of dance choreographies of ...contemporary and hip-hop dance. After watching each of the six different video-recorded dance choreographies, the participants (Serbian students N=122, aged between 17 and 27) rated their perception of time (i.e., duration, passage), their aesthetic experience, and bodily sensations. In regard to the duration aspect of time perception, the results indicated that the observers’ estimations of the duration of each choreography do not differ significantly from the objective duration of the observed choreography. In contrast, the results for the passage of time show that the participants perceived time as passing much faster when watching hip-hop choreographies. Specifically for hip-hop choreographies, Dynamism and Focus positively predict subjective time experience. In line with previous studies, these findings suggest that heightened focus on an aesthetic object, as well as immersion in an activity, tends to diminish awareness of the passage of time, leading to the sensation of time passing more quickly.
L’effet de surprise sensorielle intense qui caractérise la clinique de l’informe et son organisation rythmique et mélodique, souvent le produit d’une élaboration effectuée dans l’après-coup, sont ...analysés dans cet article à partir de l’expérience d’une première rencontre thérapeutique avec un enfant diagnostiqué autiste profond. L’analyse de cette expérience sert de pré-texte pour expliquer notre référence à la technique cartographique et gestuelle de Deligny dans un autre domaine de l’informe, celui de l’exclusion.
Resumen En un pasaje de Projet pour une révolution à New York de Alain Robbe-Grillet uno de los personajes enuncia un programa revolucionario que tiene como objetivo « d'opérer une catharsis générale ...des désirs inavoués de la société contemporaine”. A priori el concepto de “catarsis” supone un giro foráneo a la retórica modernista de Robbe-Grillet, sin embargo dicha mención reaparece en varios ensayos de los años setenta cuando el autor busca precisar un tipo particular de experiencia estética. El presente trabajo tiene como objetivo por lo tanto analizar el concepto de catarsis de Robbe-Grillet a los fines de, no sólo desentrañar el proyecto estético-político de dicha novela, sino a su vez repensar la relación entre teoría y praxis, entre liberación de energía y efecto moral, entre educación estética e intensificación del placer que se deriva de sus textos.
Resumo Em uma passagem de Projet pour une révolution à New York, de Alain Robbe-Grillet, um dos personagens enuncia um programa revolucionário cujo objetivo é “d'operer une catharsis générale des désirs inavoués de la société contemporaine”. A priori, o conceito de “catarse” supõe uma viragem estranha à retórica modernista de Robbe-Grillet, no entanto, essa menção reaparece em vários ensaios dos anos setenta quando o autor procura especificar um determinado tipo de experiência estética. O objetivo deste artigo é, portanto, analisar o conceito de catarse de Robbe-Grillet para não apenas desvendar o projeto estético-político do referido romance, mas também repensar a relação entre teoria e práxis, entre liberação de energia e efeito moral, entre educação estética e intensificação do prazer derivado de seus textos.
Abstract In a passage from Alain Robbe-Grillet's Projet pour une révolution à New York, one of the characters enunciates a revolutionary program whose objective is “d'operer une catharsis générale des désirs inavoués de la société contemporaine”. A priori, the concept of “catharsis” supposes a foreign turn to Robbe-Grillet's modernist rhetoric, however, that mention reappears in several essays from the seventies when the author seeks to specify a particular type of aesthetic experience. The objective of this paper is therefore to analyze Robbe-Grillet's concept of catharsis in order not only to unravel the aesthetic-political project of the novel, but also to rethink the relationship between theory and praxis, liberation from energy and moral effect, aesthetic education and intensification of the pleasure derived from his texts.
Although gamification in the workplace is burgeoning, organizations frequently have difficulty sustaining user engagement with a gamified information system (IS). The focus of this study is how a ...gamified IS in the workplace engages users and encourages them to continue system use. By proposing the concepts of flow experience (FE) and aesthetic experience (AE) as different ways to provide deep and meaningful user engagement, this study develops a model that explores the antecedents of FE and AE and their roles in explaining an individual's continuance intention to use of a gamified IS. The model is tested using data collected from 178 users of a gamified IS in a global consulting company. The results demonstrate that although FE and AE are complementary forces, AE is more salient than FE for explaining continuance intention. The research proposes AE as a parsimonious yet powerful construct that extends the research on user engagement. The findings contribute to research on gamification by shifting scholarly attention from deep engagement characterized by FE to meaningful engagement characterized by AE.
Abstract The purpose of this article is to introduce a methodology for analyzing the complex configurations emerging in students' speech and drawing activities, having consequences for how and what ...students learn and make meaning of in science. Accordingly, we launch a methodology to unfold the multidimensional communication as to deepen the analysis of the science epistemic discourse. We present an empirical account of students' explorations through different signs to demonstrate the construction of the methodology step‐by‐step. This methodology, a “seven‐concept‐assemblage,” is rooted in Dewey's pragmatism and Deleuze's experimentalism broadening teachers' and researchers' possibility to target students' science explorations and meaning‐making crosscutting different domains. The methodology diminishes the risk of interpretation when grasping unspoken messages and meanings. Empirical data were collected in an elementary school exemplifying the methodology and consist of audio recordings, photographs, fieldnotes, and students' drawings. The result reveals that the methodology in use exposed what and how students explored and learned cognitively and aesthetically. Imagination fertilized the process throughout. Learning then is suggested as a transductive meaning‐making process shaped through oral and pictorial relations—always from a purpose.
A cloudy November evening deep in an old forest. It is really dark, and I try to observe my environment. I discern the difference between the treetops and the dark sky and the snow-covered ground. ...Everything else is formless. My vision is quite useless, and the other senses are weak in these circumstances. Only the background hum is audible and most aromas are erased by the freezing temperature. In a winter outfit, all I can feel is the moving air on my face. Yet, this is not sensory deprivation, there are things to observe. What is it possible to discern when the visual stimulus is minimized? This article focuses on the aesthetic experience of darkness by analyzing a visit to a deep natural darkness and attempts to connect this distinct case to aesthetic theory. The emphasis is on the descriptive analysis of the challenges of seeing in the darkness.
In Critique of Judgment, Kant introduces a foundational theme in modern aesthetics by identifying the judgment of taste as a particular mode of attention. In distinction to the mode of attention in ...mundane experience that works by determining how an intuition can be subsumed under a concept, aesthetic attention celebrates the pleasure associated with the “unison in the play of the powers of the mind” confronted with “the manifold in a thing.” Aesthetic attention, in other words, is an aesthetic subject’s attention to itself and to the pleasures derived from flexing the power of imagination. In this respect, Kant’s aesthetics reaffirms its cartesian core, the primordial positing of the thinking and reflective I as the necessary preposition for experience. This strict distribution of attention toward the secure epistemological architecture of object and subject seems to vacillate, however, in Kant’s brief discussion of artworks as purveyors of “aesthetic ideas.” This article discusses the de-limitation of attention instigated by the aesthetic idea. The aesthetic idea is associated with the artwork as an object, but it immediately transgresses the limits of the object through an array of analogical instantiations of “spirit.” On the other hand, aesthetic ideas are subjectively appreciated, but this appreciation similarly transgresses subjective cognition in an inexhaustible ramification of associative thinking. Developing these characteristics of the “aesthetic idea,” the article proposes to excavate from Critique of Judgment a mode of aesthetic sensibility that eventually challenges the Cartesian architecture of subject and object and thus reposits aesthetics in a field of relational interdependency.
Design aesthetics play a crucial role in product design. Stakeholders expect to develop highly valuable premium products by improving the design aesthetics of products. Nevertheless, the question of ...how to evaluate the value of design aesthetics has not been fully addressed. In this study, the effects of design aesthetics on the evaluation of the value of a product were investigated through a strictly controlled experiment in which the neural responses of the participants were measured. Forty participants completed the design aesthetics experiment in a laboratory setting. Images of products were divided into two categories: those representing high– and low–design-aesthetic stimuli. Both types of images were labeled with the same price. Overall, the images representing high design aesthetics elicited smaller N100 and lower P200 amplitudes than did the images representing low design aesthetics. This finding indicates that low design aesthetics attracted more attention than high design aesthetics did and that high design aesthetics triggered positive emotions. Low–design-aesthetic products elicited a larger N400 amplitude. This finding reveals the inconsistency between labeled and expected prices. The present study indicates that the N400 component can be used as an indicator for measuring the perceived value of a product in a future product design study. Our study provides event-related potential indicators that can be easily applied in decision making for measuring the perceived value of a product’s design.
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