How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting

被引:16
作者
Kuehnapfel, Corinna [1 ]
Fingerhut, Joerg [2 ]
Brinkman, Hanna [3 ,4 ]
Ganster, Victoria [1 ]
Tanaka, Takumi [5 ]
Specker, Eva [1 ]
Mikuni, Jan [1 ,6 ]
Gueldenpfennig, Florian [7 ]
Gartus, Andreas [1 ]
Rosenberg, Raphael [3 ]
Pelowski, Matthew [1 ,6 ]
机构
[1] Univ Vienna, Fac Psychol, Vienna, Austria
[2] Humboldt Univ, Berlin Sch Mind & Brain, Dept Philosophy, Berlin, Germany
[3] Univ Vienna, Dept Art Hist, Vienna, Austria
[4] Danube Univ Krems, Dept Arts & Cultural Studies, Krems, Austria
[5] Univ Tokyo, Grad Sch Humanities & Sociol, Bunkyo Ku, Tokyo, Japan
[6] Univ Vienna, Vienna Cognit Sci Hub, Vienna, Austria
[7] Privatuniv St Polten, New Design Univ, St Polten, Austria
基金
欧盟地平线“2020”;
关键词
movement-tracking; embodiment; art experience; museum study; art expertise; eye-tracking; AESTHETIC EXPERIENCE; MUSEUM; PICTORIAL; PERCEPTION; CONTEXT; BEAUTY; PERSONALITY; PHYSIOLOGY; PLEASURE; BEHAVIOR;
D O I
10.1177/02762374231160000
中图分类号
C [社会科学总论];
学科分类号
03 ; 0303 ;
摘要
Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also-for the first time-define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.
引用
收藏
页码:86 / 146
页数:61
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