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1. Aesthetics 2018

   https://ncsu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV3dS8MwED9kIPii8wOdX0zwSSjNlqQfMAZzOnxXn0PSJmw-bMOtD_733qXNcKA-6FNpubTpXXsfuV_uAG6zRBRGJjbiIreRKHMdaclsVOZcMJ1lDgduL-bAOOyFIVhlo_trne61dXMlbrgZL2ez-NkXS0P7hh8lBuMJbfjlMiFY1-ThfpNJwIDC5yuROCLqkNn0GK-iMoTuqkt4Nr3avrFNP_me3gZNDmARZu-hJ9Tw4CsGP_Z1D32xi1Dj8Z9v2ob9xl3tjmq6Q9ix8yPYrRtYfhxDezAdjnDGU9oKuRrE0-EJvE4eX8ZPUdNkISp4nqxRMkVWOsYtL3mS9jEuLajztCjRzkunuTPSGW51zxSUorGJQ-LUMWeEzSwT_Ay63BrZw7ukmeHC4MFmqZO5Rt9Rl9oVHbgLfFXLuoiGCuiyN4VCUCQE5RF2ogMicF5t8Uehkv9t2E2QksI_hNIeem4X1QqJcgyiyNHtwGktvs0sOCVuJWPnf3voBezRGa0x99kltNbvlb2CFkn-2n-Gn5N646I

   Brielmann, Aenne A.; Pelli, Denis G.

   Current Biology, Vol. 28, Issue 16.

   Our everyday lives are full of aesthetic experiences. We wake up and frown at an overcast sky, or smile at the sight of the sun. Myriad decisions depend on the aesthetic appeal of the available opt... Read more

   Our everyday lives are full of aesthetic experiences. We wake up and frown at an overcast sky, or smile at the sight of the sun. Myriad decisions depend on the aesthetic appeal of the available options like which shirt to wear, which route to take to work, or where to eat. Even life-changing decisions, like where to live or who to live with, are partly based on their aesthetic appeal. Brielmann and Pelli introduce the field of empirical aesthetics, its history, and current research findings. Read less

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2. Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode -... 2014

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   Leder, Helmut; Nadal, Marcos

   The British Journal Of Psychology, Vol. 105, Issue 4, pp. 443 - 464.

   About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, n... Read more

   About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, neuroscience discovered the arts as an area of interest, and new theories offered a more comprehensive look at aesthetic experiences. Ten years ago, Leder, Belke, Oeberst, and Augustin (2004) proposed a descriptive information‐processing model of the components that integrate an aesthetic episode. This theory offered explanations for modern art's large number of individualized styles, innovativeness, and for the diverse aesthetic experiences it can stimulate. In addition, it described how information is processed over the time course of an aesthetic episode, within and over perceptual, cognitive and emotional components. Here, we review the current state of the model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics. Read less

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3. Aesthetics 2018

   https://ncsu.summon.serialssolutions.com/2.0.0/link/0/eLvHCXMwpV1dS8MwFA26vYgg8wOdTumD-CCWNW3TNDAGQ9QJe5Lpa0nTlE10iJ3_35sm_djmxOFLW0Kb0Jz25Obm3hOELsPAFzEJpO35TNp-wrjNiSPthHm-w8MwhQeXnDm7RS7Mj1Hs3X9DC2UArkqV3QDeslIogGsAGY4AMxz_BPQAeH2iUhGzuqH5MlXeePX3vpXCyTqHLZfaqCJe822dcpTl7JW_GyFu4wcwpLU2uasewKF4zQkcG2w_zSVSl_lUlWmt3oIMjT9wupCAo7mNGOluPUwSTaIrDGxkm1SDqj0c5pI6bjXclEGAOr6MRiv3bqOmS1kANNscDJ8eHqtVIZxvp1m-TLFKrSTAlyupa2Us2hy1IdczdsS4hfbMBMAaaCD30ZacHaDjkXEbZ9aVNSoByw5RqzfpVwj3upP-EXq-vxvfDm2zjYUtPOzObcZiF4s0he5OMCdY0FQQmEW7MVjnoRQuJwwTwQSN_TQhEjPu-TzBAlMPq507TpDlyZjgMElpGHt-DCcZ0pQwDtY5T3gq2uimfNvIfJxZtLaH2-i66JDoQ6ua_HZzp-iyqmrXVevBytF9ulnTZ2hHfb3ai9VBjfnnlzxHDfWrXxi8vwGV4EP1

   Morgan, Benjamin

   Victorian Literature And Culture, Vol. 46, Issue 3-4, pp. 559 - 562.

   The idea of the aesthetic as an autonomous realm of useless activity was surely indefensible from the perspective of historical materialism—but this very idea of aesthetic autonomy refused what Ado... Read more

   The idea of the aesthetic as an autonomous realm of useless activity was surely indefensible from the perspective of historical materialism—but this very idea of aesthetic autonomy refused what Adorno called the “total exchange society” and what we today call neoliberalism.2 More recently, the tables have turned; critiques of these critiques have given rise to a return to form or to “new formalism,” to a burgeoning interest in the affective dimensions of aesthetic experience, and to “neuroaesthetics” as a possible interface of the humanities and the hard sciences. First: aesthetics as a science. Grant Allen's Physiological Aesthetics (1877), one of the only British works on aesthetics widely read in Europe, synthesized Alexander Bain's physiological psychology and Herbert Spencer's evolutionary theory to theorize aesthetic response as an evolved animal behavior rooted in the nervous system.4 The professional and romantic couple Vernon Lee and Clementina Anstruther-Thomson later used empirical introspection, quantitative analysis, and statistical surveys to study empathy, understood by them as a “bodily alteration” directly induced by visual, verbal, or musical form.5 By the turn of the twentieth century, the first experimental psychology laboratories in the U. K., the U. S., and Canada included studies of aesthetic experience in their research programs.6 This attention to the body as a receptor of aesthetic stimuli draws our attention to a second distinguishing feature of Victorian aesthetic thought: the importance of corporeality and materiality. Read less

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