About the Need for a More Adequate Way to Get an Understanding of the Experiencing of Aesthetic Items.

Neuroscientific methods for studying aesthetic experience are widely available but often lack a valid theoretical foundation and impose strict experimental constraints that strip away the contextual and dynamic factors essential to genuine aesthetic encounters. Social and situational affordances, the beholder's cognitive and affective states, ongoing processes of understanding, cultural factors, and the Zeitgeist all matter. A dynamic and holistic aesthetic perspective is proposed that accounts for context, situation, and temporal dynamics across domains such as art, design, architecture, everyday aesthetics, dance, literature, music, and opera. Ignoring these factors risks missing the essence of aesthetic experience, especially the qualia of processing artworks.

Study at a glance

Abstract

We live in times when neuroscientific methods have become standard methods that many researchers can easily use. While this offers excellent opportunities to understand brain activities linked with aesthetic processing, we face the problem of using sophisticated techniques without a proper and valid theoretical foundation of aesthetics. A further problem arises from sophisticated methods often demanding strict constraints in presenting and experiencing aesthetic stimuli. However, when experiencing aesthetic items, contextual factors matter, e.g., social and situational affordances are essential in triggering a true and deep "Kunsterlebnis" (Experience of Art). Additionally, in Art, it is often not the artwork as an object that matters but the close relationship with and the processing of the artwork. However, art is only one facet of the whole aesthetic domain, beside, e.g., design, architecture, everyday aesthetics, dance, literature, music, and opera. In the present paper, I propose a dynamic and holistic aesthetic perspective that includes the respective context, situation, cognitive and affective traits and state of the beholder, ongoing processes of understanding, Zeitgeist, and other cultural factors, which can be applied to different aesthetic domains. When ignoring such temporal and dynamic factors, we will not understand the qualia of aesthetic processing. These considerations might help researchers in the field of aesthetics to better understand the experiencing of aesthetic items of all kinds-if we ignore these factors, we are missing the essence of experiencing aesthetic items, especially artworks. We aim to sensitize and inform readers about these ideas to inspire a deeper understanding of experiencing aesthetic items and the advancement of a theoretical framework addressing the experiencing of aesthetics from different domains.