Experimental aesthetics

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The experimental aesthetics is a branch of psychology . It was founded by Gustav Theodor Fechner in the 19th century. From Fechner's point of view, aesthetics is an experienced value that can be empirically grasped taking into account personal and property characteristics. The experimental aesthetic is thus characterized by a subject-related, inductive approach. It defines itself as part of empirical aesthetics and examines theory-guided causal hypotheses with the help of experiments .

Experimental aesthetics is thus the second oldest research area in psychology; Only psychophysics is older . In his central work, Preschool of Aesthetics , Fechner presents his empirical approach extensively and in detail.

Modern approaches to experimental aesthetics mostly stem from cognitive psychology or neurosciences ( neuroesthetics ). The experimental aesthetic is strongly oriented towards science.

methodology

The analysis of individual experience and behavior using experimental methods is central to experimental aesthetics . In particular, the perception of works of art, music or modern objects such as websites or other IT products is examined. Data can be examined and analyzed on three levels:

  1. physiological level
  2. phenomenal level (the experience)
  3. behavioral level (the behavior)

Here it is difficult to give an absolute value for the aesthetics of an object; However, statements can very well be made, for example, of how many of the test persons rate an object as beautiful or how many prefer it in comparison to other objects.

Depending on the approach, a number of different methods are used in experimental aesthetics, for example pair comparisons , ranking methods, Likert scales and semantic differentials , manufacturing methods, statistical group comparisons, reaction time measurements , and also more complex methods such as eye movement registration , electroencephalography or functional magnetic resonance tomography .

literature

  • Allesch, CG (1987): History of Psychological Aesthetics. Göttingen: Publishing house for psychology.
  • Allesch, CG (2006): Introduction to Psychological Aesthetics. Vienna: WUV.
  • Fechner, GT (1876): Preschool of Aesthetics. Leipzig: Breitkopf & Härtel.
  • Kebeck, Günther & Schroll, Henning: Experimental Aesthetics. , Facultas Verlag, Vienna ISBN 978-3-8252-3474-4
  • Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004): A model of aesthetic appreciation and aesthetic judgments. In: British Journal of Psychology. 95. pp. 489-508.
  • Reber, R., Schwarz, N. , & Winkielman, P. (2004): Processing fluency and aesthetic pleasure: Is beauty in the perceiver's processing experience? In: Personality and Social Psychology Review. 8. pp. 364-382.
  • Wiesing, Lambert (2012): Phenomenological and experimental aesthetics. In: Journal for Aesthetics and General Art History. 57 (2). Pp. 239-253.

Individual evidence

  1. ^ Fechner, GT (1860): Elements of Psychophysics. Leipzig: Breitkopf & Härtel.
  2. ↑ Martindale, C. (2007): Recent trends in the psychological study of aesthetics, creativity, and the arts. In: Empirical Studies of the Arts. 25 (2), 121-141.
  3. ^ Kobbert, M. (1986): Art Psychology. Darmstadt: Scientific Book Society.
  4. ^ Thielsch, MT (2008): Aesthetics of websites. Perception of aesthetics and their relationship to content, usability and personality traits. Münster: MV Science
  5. ↑ Hassenzahl, M. (2008): Aesthetics in interactive products: Correlates and consequences of beauty. In: HNJ Schifferstein & P. ​​Hekkert (Eds.): Product experience. (pp. 287-302). Amsterdam: Elsevier.