Hostname: page-component-78c5997874-lj6df Total loading time: 0 Render date: 2024-11-02T22:42:56.419Z Has data issue: false hasContentIssue false

Orange is the new aesthetic

Published online by Cambridge University Press:  29 November 2017

Anjan Chatterjee*
Affiliation:
Pennsylvania Hospital of Penn Medicine, Philadelphia, PA 19104. [email protected]://ccn.upenn.edu/chatterjee/anjan.html

Abstract

The Distancing-Embracing model proposes that negative emotions are constitutive of aesthetic experiences. This move is welcome and adds depth to empirical aesthetics. However, the model's emphasis on temporality challenges how best to think of static art forms. I suggest that “decisive” and “distilled” moments dilate time in the viewer's mind and might allow the model to accommodate photography and painting.

Type
Open Peer Commentary
Copyright
Copyright © Cambridge University Press 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Arnheim, R. (1954) Art and visual perception: A psychology of the creative eye. University of California Press.Google Scholar
Berlyne, D. E. (1971b) Aesthetics and psychobiology. Appleton-Century Croft.Google Scholar
Bullot, N. J. & Reber, R. (2013a) The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation. Behavioral and Brain Sciences 36(2):123–37. Available at: http://doi.org/10.1017/S0140525X12000489.CrossRefGoogle Scholar
Cartier-Bresson, H. C. (1952) The decisive moment. Simon and Schuster.Google Scholar
Chatterjee, A. (2004a) The neuropsychology of visual artists. Neuropsychologia 42:1568–83. Available at: http://dx.doi.org/10.1016/j.neuropsychologia.2004.03.011.Google Scholar
Chatterjee, A. (2004b) Prospects for a cognitive neuroscience of visual aesthetics. Bulletin of Psychology and the Arts 4:5559.Google Scholar
Chatterjee, A. & Vartanian, O. (2016) Neuroscience of aesthetics. Annals of the New York Academy of Sciences 1369(1):172–94. Available at: http://doi.org/10.1111/nyas.13035.Google Scholar
Fechner, G. T. (1876) Vorschule der Ästhetik. Breitkopf & Härtel.Google Scholar
Jacobsen, T. (2006) Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo 39(2):155–62. Available at: http://dx.doi.org/10.1162/leon.2006.39.2.155.CrossRefGoogle Scholar
Leder, H., Belke, B., Oeberst, A. & Augustin, M. D. (2004) A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology 95(4):489508. Available at: http://dx.doi.org/10.1348/0007126042369811.Google Scholar
Leder, H. & Nadal, M. (2014) Ten years of a model of aesthetic appreciation and aesthetic judgments: The aesthetic episode – Developments and challenges in empirical aesthetics. British Journal of Psychology 105(4):443–64. Available at: http://doi.org/10.1111/bjop.12084.Google Scholar
Redies, C. (2007) A universal model of esthetic perception based on the sensory coding of natural stimuli. Spatial Vision 27:97117.Google Scholar
Smith, L. F., Smith, J. K. & Tinio, P. P. L. (2017) Time spent viewing art and reading labels. Psychology of Aesthetics, Creativity, and the Arts 11(1):7785. Available at: http://doi.org/10.1037/aca0000049.Google Scholar
Tinio, P. P. L. (2013) From artistic creation to aesthetic reception: The mirror model of art. Psychology of Aesthetics, Creativity, and the Arts 7(3):265–75. Available at: http://doi.org/10.1037/a0030872.Google Scholar
Vartanian, O. & Goel, V. (2004) Neuroanatomical correlates of aesthetic preference for paintings. Neuroreport 15(5):893–97.CrossRefGoogle ScholarPubMed