Search results for "aesthetic experience"
showing 10 items of 15 documents
La pedagogía de las multiliteracidades y la experiencia estética como elementos clave en la enseñanza y el aprendizaje de lenguas. Por la consolidaci…
2019
Referencias bibliográficas: p. 28-31. En el contexto de una enseñanza de lenguas que forma parte de una educación integral en la que la lectura y los procesos interpretativos, emocionales y creativos juegan un papel central, el presente artículo presenta la evolución del concepto de literacidad y la valoración de la experiencia estética como objetivos educativos. La pedagogía de las multiliteracidades y la experiencia estética conforman un nuevo paradigma en la enseñanza de lenguas. En relación a estos conceptos, se muestra una investigación sobre creencias y actuaciones de maestros en formación. Abstract: In the context of language teaching understood as part of a whole education in which …
The development of aesthetic responses to music and their underlying neural and psychological mechanisms.
2011
In the field of psychology, the first studies in experimental aesthetics were conducted approximately 140 years ago. Since then, research has mainly concentrated on aesthetic responses to visual art. Both the aesthetic experience of music and, especially, its development have received rather limited attention. Moreover, until now, very little attention has been paid to the investigation of the aesthetic experience of music using neuroscientific methods. Aesthetic experiences are multidimensional and include inter alia sensory, perceptual, affective, and cognitive components. Aesthetic processes are usually experienced as pleasing and rewarding and are, thus, important and valuable experienc…
Lucan and the Sublime: Power, Representation and Aesthetic Experience, written by Day, H.J.M.
2016
«Evo-devo meets the Mind». La questione dell’esperienza estetica e l’evoluzionismo contemporaneo, dall’ipotesi degli adattamenti modulari all’interpr…
2013
Is it achievable to read aesthetic experience as a modular adaptation, and what would be its implication on the image of man, on aesthetics and on evolutionary theory itself? An alternative path is offered by evolutionary morphology, starting from the elaboration of a biologic concept of organism and from the notion of homology of function as a system of interconnections organized in a hierarchy. We deduce the possibility of thinking the peculiar innovation of aesthetic experience in an evolutionary way.
Constituents of Music and Visual-Art Related Pleasure - A Critical Integrative Literature Review.
2017
The present literature review investigated how pleasure induced by music and visualart has been conceptually understood in empirical research over the past 20 years. After an initial selection of abstracts from seven databases (keywords: pleasure, reward, enjoyment, and hedonic), twenty music and eleven visual-art papers were systematically compared. The following questions were addressed: (1) What is the role of the keyword in the research question? (2) Is pleasure considered a result of variation in the perceiver’s internal or external attributes? (3) What are the most commonly employed methods and main variables in empirical settings? Based on these questions, our critical integrative an…
La tradición clásica como referencia de vanguardia: la Antigüedad griega y romana en la obra del pintor Gregorio Prieto (1897-1992)
2019
This article analyses the impact of classical tradition on the artistic production of Gregorio Prieto (1897-1992), painter par excellence of the Generation of 1927. It will be discovered how this influence, far from becoming a conservative reference, would constitute an incentive for his entailment with the avant-garde, especially with surrealism. Although the classic trace is found with more intensity in the creations produced during his Roman years, between 1928 and 1929, when he also made important trips to Sicily and Greece, Greece and Rome would nevertheless continue to be constitutive of his aesthetic experience throughout his later and extensive career.
The origins of the aesthetic enjoyment of music - A review of the literature
2009
Listeners attribute a positive or negative value to music. This aesthetic experience is known to be observable over the individuals’ entire life span, from early childhood to old age, and in every culture. It is then often concluded that such an aesthetic experience constitutes part of the human nature, having an important biological foundation. This assumption leads to the question of how aesthetic experience of music originated in the biological evolution. In this paper, we will explore this question in the light of evolutionary psychology, cognitive science, and systems neuroscience. After reviewing the existing proposals, we conclude that the explanation of the origin of aesthetic expe…
The Good, the Bad and the Ugly Graffiti
2020
Emotions play an essential role in aesthetic and art experience. Graffiti is an example of urban visual communication, and it can also be understood as a form of art. Like other works of art, graffiti can evoke different aesthetic emotions in its audiences, such as pleasure, wonder, interest and pride but also disinterest, disappointment or embarrassment, and even anger and disgust—further impacting, for example, how they value this art form. However, few studies have explored what kinds of emotions people feel when they appraise graffiti. This chapter discusses emotions in graffiti using examples from participant interviews in the Purkutaide study. Interview quotes are assessed against the…
Experience and Existence Revisited Something Essential on A Philosophical Education in Film Art
2013
Abstract The film, the living imagery, traces out its legend before the eyes of the viewer seated there in the darkened space, and in his consciousness becomes a lived spectacle, an interiorised impress of experience. It takes up its abode in him and he falls in step with its movement, merging with the stream of its narrative. In this there evolves an aesthetic-existential situation – of one, many; of one, a qualitative multiplicity is born, and with it the experienced essence of the unique, the inimitable. On this same, the critic pronounces judgement – as often as not his verdict – on this spectacle which he – and another – has beheld; that individual, original experience is thus now couc…