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Countless articles and books have been written about transformational leadership theory since the late 1970s when it first appeared in the literature. The purpose of this conceptual paper is to illustrate that transformational leadership contains both logical and psychological problems when explaining the nature of leadership and as an empirically supportable and verifiable construct. It aims to show that its failure to garner evidence from a scientific methodological analysis may not invalidate its efficacy if it is viewed from an alternative lens, such as aesthetics. An aesthetic frame is one that recognizes sensuous ways of knowing since feelings and emotions are just as important as reason and logic. An aesthetic approach to leadership would see leadership as more of an art than a science. This paper is not arguing for the abandonment of transformational leadership theory; rather it is saying that an aesthetic lens is likely to yield a richer, more artistic, and more nuanced account of what is understood and enacted as transformational leadership. This way, the manifestations of transformational leadership may live on in the arts and continue to inspire and motivate us. [ABSTRACT FROM AUTHOR]

This paper explores Moritz Geiger's work on the role of emotions in aesthetic appreciation and shows its potential for contemporary research. Drawing on the main tenets of Geiger's phenomenological aesthetics as an aesthetics of value, the paper begins by elaborating his model of aesthetic appreciation. I argue that, placed in the contemporary debate, his model is close to affective models which make affective states responsible for the apprehension of the aesthetic value of an artwork, though Geiger also makes important concessions to the intellectualist. Like proponents of the affective model, Geiger argues that a work's aesthetic values are extracted by means of an affective state, more precisely, a "liking". However, like the intellectualist, he considers that a focus on the emotions might interfere in the aesthetic appreciation of the artwork. Next, I reconstruct Geiger's distinction between surface and depth effects in terms of a distinction between two types of emotional responses to artworks. It is argued that Geiger offers a powerful tool to distinguish those emotions that are intrinsically related to aesthetic values from those that are not and that this distinction can be useful to understand how different kinds of emotions contribute to aesthetic appreciation. I examine the historical sources of Geiger's distinction in Theodor Lipps's aesthetics and compare Geiger's account with the works of other early phenomenologists. In the final part, I illustrate the place of Geiger's model in the contemporary discussion by means of an example. [ABSTRACT FROM AUTHOR]

This paper examines how emotion rules are socially constructed and how and why they are enacted and challenged through specific modes of embodiment in face-to-face interactions. The paper broadens the understanding of emotion rules by connecting them to aesthetics to explore face-to-face interactions. This paper is based on ethnographic data gathered from a two-year study of a micro-sized service company. It explores the structure, function, and meaning of three emotion rules: (1) the emotionality rule, (2) the enthusiasm rule, and (3) the nice way rule as enacted by the company's chief executive officer (CEO) and employees. This paper enhances the understanding of the role of emotion rules in establishing an innovative and democratic organisation. It offers insight into how emotion rules were enacted, challenged, and broken in an unexpected situation when the CEO announces her non-consultative decision that affected the company's employees. [ABSTRACT FROM AUTHOR]

The uniqueness of aesthetic implication in Zhou Dynasty poetics lies in that it is the basic forming stage of the concept of formal beauty of the whole Chinese nation, and the aesthetic implication of the Zhou Dynasty poetics art has fundamental significance for the whole ancient Chinese aesthetic implication theory. In the discipline of natural language processing, text emotion analysis is a crucial topic. Artificial neural network research is where the idea of "deep learning" (DL) first emerged. In view of the problems that semantic information is easy to be lost and emotional information may be ignored in the traditional Chinese short text emotion analysis model, this paper introduces the AM (attention mechanism) and proposes a CNN-LSTM (convolutional neural network-long short-term memory) poetic aesthetic implication analysis method based on self-attention. For the IL (input layer), word vectors trained by Word2Vec are used and then input into the CNN-LSTM joint model. Then, the output of the joint model is weighted and summed by self-attention and finally input into the Softmax classifier, so as to realize the emotion classification of the text. By creating and putting into practise pertinent comparative experiments, the usefulness of the proposed model is confirmed. The outcomes demonstrate that this model outperforms the other three comparison models for the quantification of evaluation indices in terms of overall performance. The accuracy and F1 of this paper are 93.362% and 90.886%, respectively, which are higher than other models. [ABSTRACT FROM AUTHOR]

This paper investigated a research area worthy of greater attention: foreign language classroom anxiety (hereafter FLCA) and enjoyment (hereafter FLE) of older adults learning English as a foreign language in Chinese Universities of the Third Age. Understanding the largely overlooked emotional involvement of older language learners contributes to sustaining their motivation in lifelong learning for more remarkable personal growth and successes. Based on the survey of 587 Chinese older learners of English between the age of 50 and 80, paired sample t-test showed that more FLE was reported than FLCA. The results of Welch's ANOVA suggested that those who were better educated had less FLCA and those who believed themselves healthier had more FLE. The language performance evaluation (i.e. relative standing in class and English mastery) affects both FLE and FLCA. Further interviews with 34 older participants revealed three major sources of FLE, including the language use in life situations, the favorable attitude toward FL learning in the cognitive, aesthetic cultural and pragmatic aspects and the social interactions in the U3As. FLCA occurs when the language performance is perceived as dissatisfying and when aspects of mental health (e.g. worsening memory) impede effective learning. Although FLCA and FLE had only a very weak correlation, Chinese older adult learners commented on a shared belief that anxiety usually precedes and subsequently enhances enjoyment in learning, indicating a sign of emotional resilience later in life. This paper demonstrates a need for understanding the emotions in language learning across life stages and socio-cultural contexts. [ABSTRACT FROM AUTHOR]

Indian Classical Drama is a field widely discussed, from Sanskrit treaties to modern theoreticians, but little was written about it by the Romanian academics, much less in the Theological field. For this instance, the present paper is an attempt in providing a short introduction to one of the “cornerstones” of Classical Drama: rasa. Classical Theatre exceeds the expectations of realism, developing ‘exaggerations’ understood only in the context of a fictional dramatic universe, created specifically for them to meet their purpose: the aesthetic experience. To accede such a cosmos of beauty, sophistication (based on imagination, sensibility, and openness of the mind) is required from the audience, and not only from the performers, with the goal of transcending oneself through aesthetics, and even uniting with Brahman. [ABSTRACT FROM AUTHOR]

Dance is a unique art with the human body movement as the main means, but dance is not limited to the human body movement itself. Like any art, dance is the product of human social behavior and a romantic behavior of human thoughts and emotions in the virtual world. Dances with different characteristics will also reflect different aesthetics, different cultural psychology, different living styles, and emotional trajectories of different times and different nationalities. People rely on the image of dance artists to develop and inherit the profound ideological connotation and philosophy of life. Viewers may form their own diversified and unique aesthetic characteristics. In the new era, in order to better promote the development, communication, and dissemination of dance art, it is very necessary to analyze and explore the connotation and aesthetic characteristics of dance art. Only through specific movements can the value and ideological connotation of works be expressed. Therefore, this paper comparatively analyzes dance movement aesthetic emotion based on deep learning. Experimentations are performed to systematically analyze the models from various perspectives. Findings of the evaluation show that CAP and CNN are effective models that can successfully extract high-level emotional features. The method proposes and effectively selects the best models among the five standard models based on key features and is, therefore, suitable in predicting the dancer's emotion and for the analysis of the dance movement in the future. [ABSTRACT FROM AUTHOR]

This paper discusses the relationships among aesthetic cognition, aesthetic emotion and college students' aesthetic behaviour in light of three questionnaires including an aesthetic cognition scale, an aesthetic emotion scale, and an aesthetic behaviour scale. A survey including these three structured scales was administered to 1060 university students at general undergraduate institutions. Their responses were scored on a 5-point Likert scale. Structural equation modelling was used to construct the measurement model and structural model. The survey results indicated positive correlations among these three variables. In addition, aesthetic emotion played a mediating role in the influence of aesthetic cognition on aesthetic behaviour. The results of this study can enhance the daily lives of college students by improving their levels of aesthetic and creative behaviour. [ABSTRACT FROM AUTHOR]

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What is aesthetic appreciation? In this paper, I approach this question in an indirection fashion. First, I introduce the Kantian notion of moral worthy action and an influential analysis of it. Next, I generalise that analysis from the moral to the aesthetic domain, and from actions to affects. Aesthetic appreciation, I suggest, consists in an aesthetically worthy affective response. After unpacking the proposal, I show that it has non-trivial implications while cohering with a number of existing insights concerning the nature of appreciation and the constraints to which it is subject. In closing, I note some limitations on the analogy between aesthetic appreciation and morally worthy action. [ABSTRACT FROM AUTHOR]

This paper takes up Howard's (1999) suggestion that sentimentality can be a lens on self-world relations. It focuses on human-bird relations in a Facebook site dedicated to Australian wild birds: Birds in Backyards (Australia). We argue that the traditional ideal of intellectual and affective distance through which critiques of sentimentality are still so often couched is not very useful in understanding and valuing the dynamic, interactive and immersive forms of social media. A study of Birds in Backyards suggests that there quite different ways that the love of wild birds can manifest and that sentimentality is not inimical to the generation of a community of care for, and celebration of, birds. Moreover, an older assumption that sentimentality might be the opposite of, or an impediment to, practical action seems hard to justify in the discursively and emotionally complex milieux of the digital age. Today, there is no place for an opposition between feeling and doing, and scientific action often requires and mobilizes emotion. [ABSTRACT FROM AUTHOR]

English novelist and poet D. H. Lawrence and Sufi master (shaikh) Ibn ‘Arabi’s writing have very little common purpose. They write in different ages, in different cultural and religious background and in different genre. Therefore, this paper is not about common purpose and similarity of themes in their writings. This paper addresses one fundamental ontological issue which fascinates both writers the most and that issue is experiencing the spiritual source of human soul. This source, which is transcendental and without human reach, has a medium of its expression in human love, the finest human emotion God has put in the world. In this paper we will try to understand Lawrence’s transcendental leap through Ibn ‘Arabi’s concept of experiencing the divine reality in this world. [ABSTRACT FROM AUTHOR]

Copyright of Studia Ecologiae et Bioethicae is the property of Uniwerystet Kardynala Stefana Wyznskiege w Warzawie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores students' involvement in an extra-curricular journalistic activity set up in a transnational university in China, by drawing on the connection between art, emotions and experience postulated by the philosopher John Dewey. The article will show how undergraduate students verbalized their experience of writing news features and other items for a campus magazine, their motivations for taking part in the magazine, their expectations, the obstacles they had to overcome, and the ways in which they felt rewarded by this experience. This study argues that looking into students' reflections on a magazine production can help broaden our understanding of student media practice as an aesthetic dynamic and structured endeavor characterized by the following traits: novelty, instinct, emotion, struggle, and transformation. [ABSTRACT FROM AUTHOR]

This paper discusses Heller's aesthetic ethics in her feeling theory. 'Feeling' is an aesthetic problem as well as an ethical problem. Heller discusses the important role of emotions in modern life. 'Housekeeping of feelings' is the key category of Heller's ethical aesthetics, which is related to one's self-realization. It is beneficial to the formation of individual value and helps to reconstruct an increasingly atomized community. The housekeeping of feelings is some kind of care, which is important both ethically and aesthetically. Heller's feelings theory is based on human value itself, which is of great methodological significance for the reconstruction of the broken emotional community in the post-epidemic era. [ABSTRACT FROM AUTHOR]

This paper analyses the lexical domains of DISGUST and UNPLEASANT PERSONAL EXPERIENCE and their associated emotional responses in Old English poetry. Combining methods from corpus-based lexical semantics and cognitive linguistics, this paper delves into the role of proximity senses in negative aesthetic experience in this particular literary context, looking into the phenomenology of these aesthetic emotions. This research proves that these aesthetic emotions, despite their apparent sensory dimension, almost always index cognitive evaluations that are, in most of the cases, religiously oriented towards the preservation of social order. Furthermore, this paper also indicates that aesthetic emotion of DISGUST, particularly its dimension of "moral taint", is the most prevalent and effective negative aesthetic emotion in Old English poetry. [ABSTRACT FROM AUTHOR]

Drawing on the recent studies on aesthetic emotions and on their recent application to the field of the Old English aesthetic emotions, this paper explores one emotion from the emotion family of AMAZEMENT in the Old English poetic corpus, attending to the type of wonder that is typically triggered by objects of beauty, excellent manufacture and by the natural world. The purpose of this paper is to understand better the poetic usage of the Old English terms for wonder as well as evidence their role in literary and everyday contexts. Through a fine-grained analysis of the above domains, this paper has shown that the wonder implicit in these texts can be triggered by perceptual or cognitive appraisals, but also by a combination of both, highlighting the complexities and particularities of the early medieval English emotion of WONDER, as well as its similarity to other emotions like the EXPERIENCE OF BEAUTY or AWE. [ABSTRACT FROM AUTHOR]

This paper investigates the impact of aesthetics in early game development based on a quantitative analysis of 367 early access games. We identified the relationship between aesthetic perception in early video games reflected in the user reviews, comments, and subsequent positive and negative video game recommendations over time. We find that customer co-creation in product innovation is increasingly negative feedback over time when the game's aesthetic early impression is perceived as negative. The implications for innovation management are that aesthetics design impacts the response to customer-ready prototypes. Managers should take the aesthetic design and user perception in early development into account and not delay the attention to aesthetics to a later product release stage. [ABSTRACT FROM AUTHOR]

The objective of a bridge design is to produce a safe bridge that satisfies all functional requirements with a cost that is acceptable by the owners. However, with accelerated development of people's aesthetic awareness, the design of urban bridges is gradually developing towards novelty, harmony, and customization. The most critical issue in constructing an aesthetically pleasing bridge is that there is no such rule to conceive of the most perfect or elegant design. In recent decades, a large number of bridges have been built on the Haihe River in Tianjin, China. This paper focuses on the introduction and implementation of innovative aesthetics design for urban bridges in this city. The design of new bridges on the Haihe River adheres to the people-oriented conception, and to the successful combination of aesthetics and functional design specifications. Complementary scientific strategies are implemented during the reconstruction of old bridges on the river to protect the cultural relics and preserve the history. The overall design conception in this paper is the harmony of mechanics and aesthetics as well as the harmony of bridges and its surrounding environment. Also, the designers and constructors follow the rules of inheriting historical emotions and human emotions. Several novel bridge cases are employed in the paper to demonstrate the design conception. [ABSTRACT FROM AUTHOR]

Although scholars have fully explored the factors influencing tourists' positive emotions, there is still a research gap on the joint effect of multiple factors. Based on 509 samples of cultural and creative tourists, this paper constructs the causal configurations of enjoyment from two aspects: environment and individual. Fuzzy-set qualitative comparative analysis (fsQCA) confirmed that there are four solutions, which present two types: "environmental aesthetics and individual acculturation" and "environmental creative performance and individual cultural intelligence". There is an alternative relationship between creative performance and cultural intelligence. Additionally, authenticity only plays a complementary role in tourists' enjoyment. [ABSTRACT FROM AUTHOR]

Background We discuss the aesthetics of grotesque transparency in public health communication campaigns and health-related social marketing initiatives, and its strategic and ethical implications. Methods Some emblematic cases are discussed illustrating the relevance of the grotesque transparency strategy. Results These case studies show aesthetical and emotional considerations that public health scholars and professionals should carefully consider in the context of an expansive visual culture driven by digital communications. They also indicate that with the advent of technologies that expand the capabilities of manipulating and diffusing images the role of the transparently grotesque is more prevalent in public health and social marketing initiatives. Discussion The study of grotesque transparency is particularly important when facing emerging global public health challenges, such as pandemics and climate change-related health issues, in a disruptive communication ecosystem. [ABSTRACT FROM AUTHOR]

Over the last two decades there have been considerable advancements in conceptual understanding and empirical findings on aesthetic emotions, one of the most popular topics in neurocognitive sciences and the scientific approaches to aesthetics. The paper proposes an empirical-theoretical review suggesting that aesthetic emotions have a strong cognitive potential in so far that they can enhance emotional intelligence. In particular, the review refers to the so-called 'ability mental model' of emotional intelligence and stresses evidence showing that aesthetic emotions can improve all the four dimensions of this model: perceiving emotions, using emotions to facilitate thought, understanding emotions, and self-regulating emotions. [ABSTRACT FROM AUTHOR]

Purpose: This study examines the influence of Centrality of Visual Product Aesthetics (CVPA) on multi-stage food consumption and emotions under aesthetic disruption, assessing how CVPA affects consumption and whether food aesthetics moderate these behaviours and emotional responses. Design/methodology/approach: Data were collected using qualitative interviews and quantitative experimental designs, employing a moderated mediation model for statistical analysis. Findings: Consumers with higher CVPA are more likely to adopt multi-stage consumption for higher aesthetic food, generating greater positive emotions, both in personal experiences and when viewing food bloggers' posts. Originality/value: This study introduces the novel concept of "multi-stage consumption" and investigates its origins and outcomes. [ABSTRACT FROM AUTHOR]

Disgust is commonly understood as an emotion of aversion. However, people seem to eat certain food items not despite containing disgust eliciting features but because of them. In this paper, we introduce the term aesthetic disgust to capture this phenomenon. We outline in our manuscript how designers use different techniques to stage the food experience and facilitate aesthetic disgust, which can be understood as more than just a pleasurable experience. We outline twelve staging techniques used in the context of food design to facilitate a distancing or embracing effect regarding the disgust eliciting features. Three food examples illustrate how these different techniques can be combined and applied in design practice. [ABSTRACT FROM AUTHOR]

Introduction: Aesthetic emotions are a class of emotions aroused by evaluating aesthetically appealing objects or events. While evolutionary aesthetics suggests the adaptive roles of these emotions, empirical assessments are lacking. Previous neuroscientific studies have demonstrated that visual stimuli carrying evolutionarily important information induce neural responses even when presented non-consciously. To examine the evolutionary importance of aesthetic emotions, we conducted a neuroscientific study using magnetoencephalography (MEG) to measure induced neural responses to non-consciously presented portrait paintings categorised as biological and non-biological and examined associations between the induced responses and aesthetic ratings. Methods: MEG and pre-rating data were collected from 23 participants. The pre-rating included visual analogue scales for object saliency, facial saliency, liking, and beauty scores, in addition to 'biologi-ness,' which was used for subcategorising stimuli into biological and non-biological. The stimuli were presented non-consciously using a continuous flash suppression paradigm or consciously using binocular presentation without flashing masks, while dichotomic behavioural responses were obtained (beauty or non-beauty). Timefrequency decomposed MEG data were used for correlation analysis with pre-rating scores for each category. Results: Behavioural data revealed that saliency scores of non-consciously presented stimuli influenced dichotomic responses (beauty or non-beauty). MEG data showed that non-consciously presented portrait paintings induced spatiotemporally distributed low-frequency brain activities associated with aesthetic ratings, which were distinct between the biological and non-biological categories and conscious and non-conscious conditions. Conclusion: Aesthetic emotion holds evolutionary significance for humans. Neural pathways are sensitive to visual images that arouse aesthetic emotion in distinct ways for biological and non-biological categories, which are further influenced by consciousness. These differences likely reflect the diversity in mechanisms of aesthetic processing, such as processing fluency, active elaboration, and predictive processing. The aesthetic processing of non-conscious stimuli appears to be characterised by fluency-driven affective processing, while top-down regulatory processes are suppressed. This study provides the first empirical evidence supporting the evolutionary significance of aesthetic processing. [ABSTRACT FROM AUTHOR]

Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues that experiences of belief and doubt are affective sensations, and both can be graphed on a scale of sensuous intuition or cognitive guessing (which, again, projects affect). The failure of language to grasp what we refer to as instances of emotion, feeling, sensation, affect, belief, doubt, and the like is more of an intractable problem for philosophical aesthetics than it is for the aesthetics of the art experience. Examples of the art of Cy Twombly, Barnett Newman, Donald Judd, Bridget Riley, and Katharina Grosse are invoked to argue through the gap between thought and feeling. [ABSTRACT FROM AUTHOR]

In this work, five different types of animated graphic design ideas (traditional, 2D, 3D, stop motion, motion) were examined on three different textile fabrics (cotton, silk, polyester) through digital printing. Psychological-emotional expressions (openness, conscientiousness, extroversions, agreeableness, and neuroticism) were investigated that influenced the perceptual criteria. Lastly, a quantitative investigation was carried out from a sample of 300 students whose ages varied from 20 to 24 years old for an analysis of aesthetic appeal through a 5-point Likert scale. The results revealed that motion animation design has the most effective aesthetic appeal while the stop motion design pattern has the least aesthetic appeal. Silk fabric samples have better graphic consequences whereas polyester fabric samples have the least. Moreover, individuals with neuroticism emotional personality have the least effective response while agreeableness have the utmost for the sense of aesthetics. 71% students were accustomed to aesthetic appeal as compared to structural fabrics. [ABSTRACT FROM AUTHOR]

The article discusses the problem of dehumanization from the perspective of the works and experiences of the Polish scholar Mieczysław Wallis, who was a representative of the philosophical Lvov-Warsaw School. During the Second World War he was held captive in German POW camps for nearly 5 years. However, he never succumbed to the atmosphere of terror and despondency, nor did he give in to the fear of prolonged imprisonment, but instead continued his academic and educational work. As a result, he not only illustrated the mechanisms of dehumanization occurring in the camp environment, but also devised an original intellectual “preventive program” which made it possible to defend the human psyche, personality, sensations and emotions against harmful and destructive influences. The main inspiration for Wallis’s intellectual program at the camp came from his pre-war aesthetic works. The program was focused on a human being’s inner life, in particular values and aesthetic experiences, as well as on the specifically human activities implied by them. Wallis believed that aesthetic experiences can have spectacular adaptive significance in human life. He claimed that by providing joy, these experiences can counterbalance suffering. Importantly, in the light of Wallis’s Woldenberg notes, it appears that the intellectual conclusions he had adopted in captivity became an essential component of his existential attitude and protected him from moral degradation. [ABSTRACT FROM AUTHOR]

Recently, cognitivist accounts about art have come under pressure to provide stronger arguments for the view that artworks can yield genuine insight and understanding. In Gregory Currie's Imagining and Knowing: Learning from Fiction, for example, a convincing case is laid out to the effect that any knowledge gained from engaging with art must "be judged by the very standards that are used in assessing the claim of science to do the same" (Currie 2020: 8) if indeed it is to count as knowledge. Cognitivists must thus rally to provide sturdier grounds for their view. The revived interest in this philosophical discussion targets not only the concept of knowledge at the heart of cognitivist and anti-cognitivist debate, but also highlights a more specific question about how, exactly, some artworks can (arguably) afford cognitive import and change how we think about the world, ourselves and the many events, persons and situations we encounter. This paper seeks to explore some of the ways in which art is capable of altering our epistemic perspectives in ways that might count as knowledge despite circumventing some standards of evidential requirement. In so doing we will contrast two alternative conceptions of how we stand to learn from art. Whereas the former is modelled on the idea that knowledge is something that can be "extracted" from our experience of particular works of art, the latter relies on a notion of such understanding as primarily borne out of a different kind of engagement with art. We shall call this the subtractive conception and cumulative conception respectively. The cumulative conception, we shall argue, better explains why at least some insights and instances of knowledge gained from art seem to elude the evidential standards called for by sceptics of cognitivism. [ABSTRACT FROM AUTHOR]

Measuring emotions in a comprehensive and meaningful way has been a constant challenge for emotion researchers in behavioral sciences. There is much debate surrounding affect and emotion conveyed in artwork as these elements are subjective higher-level semantics that are difficult to measure objectively. This paper introduces the Visual Aesthetic Wheel of Emotion (VAWE), a domain-specific device for measuring visual aesthetic emotions, which was structurally inspired by the Geneva Emotion Wheel (GEW). The development of the emotion terms used in this device were based on an extensive literature review on emotions induced by visual art and music, as well as various assessment tools. A set of emotions representing different categories were compiled and a field study was conducted to select the most appropriate terms for the wheel. VAWE contains twenty emotion terms that reflect emotional responses to a perceived aesthetic emotion from artwork stimuli. GEW's adaptation procedure and analysis was used to determine the placement of the terms around the wheel, including a self-reporting test was developed and implemented with sixty participants. The twenty aesthetic emotion terms are organized on a wheel-like format with points on the spokes of the wheel representing the intensity users feel, along with a neutral option in the center. The device differs from instruments that require respondents to rate their feelings on a list of emotions terms as it organizes the terms to be rated on a theoretically justified two-dimensional system of valence and arousal. [ABSTRACT FROM AUTHOR]

We examine the emergence of aesthetic emotions in an exploratory study on a mixed reality (MR) gastrosonic experience. Participants in an art-science event completed the AESTHEMOS questionnaire on aesthetic emotions and the Multimodal Presence Scale, reporting a wide spectrum of prototypical, pleasant and epistemic emotions. Food enjoyment was correlated with the prototypical aesthetic emotions of fascination and enchantment and feelings of self-presence were correlated with the prototypical emotions of being moved/in awe. Crossmodally matched food was highly congruent with music and visuals. Our findings suggest the relevance of studying environmental aesthetics in the context of these novel eating situations. [ABSTRACT FROM AUTHOR]

Background: Virtual Reality (VR) has already emerged as an effective instrument for simulating realistic interactions, across various domains. In the field of User Experience (UX), VR has been used to create prototypes of real-world products. Here, the question is to what extent the users' experience of a virtual prototype can be equivalent to that of its real counterpart (the real product). This issue particularly concerns the perceptual, cognitive and affective dimensions of users' experiences. Methods: This exploratory study aims to address this issue by comparing the users' experience of a well-known product, i.e., the Graziella bicycle, presented either in Sumerian or Sansar VR platform, or in a physical setting. Participants' Emotional Engagement, Sense of Presence, Immersion, and Perceived Product Quality were evaluated after being exposed to the product in all conditions (i.e., Sumerian, Sansar and Physical). Results: The findings indicated significantly higher levels of Engagement and Positive Affect in the virtual experiences when compared to their real-world counterparts. Additionally, the sole notable distinction among the VR platforms was observed in terms of Realism. Conclusions: This study suggests the feasibility and potential of immersive VR environments as UX evaluation tools and underscores their effectiveness in replicating genuine real-world experiences. [ABSTRACT FROM AUTHOR]

The innovative thinking of artists highlights the influence of Bergson's philosophy on modern art, and the perception of the relationship of the inner essence of "mind and matter" through observing and experiencing daily life helps artists design works according to the artists' conception. The innovative thinking of learners is based on the creation of art, namely duration, movement, timeliness, and dynamics. We integrated the emotions of creators as the links of the creation of works with the "aesthetic duration" of the viewer, the "movement" rhythm of visual transformation of different "timeliness" provided by the workspace to evoke the "dynamics" of the viewers' internal thoughts. In this article, the creative thinking of three works, namely Growth, Fisherman, and Virtuality and Reality, was analyzed for learners to discuss how the creators designed their works to connect and reflect their creative thinking and creation with the help of emotion. The results of this analysis of creative thinking helped students understand the process of artistic creation and have the creative characteristics of Bergerson's philosophy. The emotional elements of the creator need to be integrated to evoke the deepest feelings and help viewers feel the beauty of works to the maximum. [ABSTRACT FROM AUTHOR]

Copyright of Religación: Revista de Ciencias Sociales y Humanidades is the property of Religacion: Revista de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What do events such as scandals, industrial accidents, activist threats, and mass shootings have in common? They can all trigger an audience's stigma judgment about the organization involved in the event. Despite the prevalence of these stigma-triggering events, management research has provided little conceptual work to characterize the dimensions and processes of organizational event stigma. This article takes the perspective of the evaluating audience to unpack the stigma judgment process, identify critical dimensions for categorizing types of event stigma, and explore the role of the stigmatizers' aesthetic, emotional, and cognitive reactions as well as their practical considerations in producing what we call "sticky stigmas." Our event stigma typology provides clarity regarding how stigmas differ based on the types of events and audiences' reactions and why some event stigmas are stronger and more long-lasting than others. We highlight the role of emotions and aesthetics in stigma formation and the various ethical dilemmas that influence stigma stickiness. [ABSTRACT FROM AUTHOR]

Which traits are beautiful? And is their beauty perceptual? It is argued that moral virtues are partly beautiful to the extent that they tend to give rise to a certain emotion—ecstasy—and that compassion tends to be more beautiful than fair-mindedness because it tends to give rise to this emotion to a greater extent. It is then argued, on the basis that emotions are best thought of as a special, evaluative, kind of perception, that this argument suggests that moral virtues are partly beautiful to the extent that they tend to give rise to a certain kind of evaluative perceptual experience. [ABSTRACT FROM AUTHOR]

The connection between humans and nature seems to be one of increasing alienation. The use of digital technology, especially its problematic use, may affect this ongoing alienation. This study seeks to investigate how and when problematic technology use is associated with the human-nature connection, especially the emotional connection. Specifically, the study examined the mediating role played by presence and the moderating role played by openness with respect to the association between problematic mobile phone use (PMPU) and aesthetic emotion with nature (AEWN). A sample of 891 participants completed a battery of self-report questionnaires measuring PMPU, AEWN, presence, and openness. The results showed that PMPU was negatively associated with AEWN, and that this association was partially mediated by presence. In addition, openness moderated both the direct relationship between PMPU and AEWN and the indirect relationship between those factors via presence. These two effects were weaker for individuals with higher levels of openness. The current study provides new evidence concerning the negative influence of escalating digital technology use on the emotional connection to nature and contributes to the literature by uncovering the mechanisms underlying this influence. [ABSTRACT FROM AUTHOR]

A commonplace sight is seeing other people walk. Our visual system specializes in processing such actions. Notably, we are not only quick to recognize actions, but also quick to judge how elegantly (or not) people walk. What movements appear appealing, and why do we have such aesthetic experiences? Do aesthetic preferences for body movements arise simply from perceiving others' positive emotions? To answer these questions, we showed observers different point-light walkers who expressed neutral, happy, angry, or sad emotions through their movements and measured the observers' impressions of aesthetic appeal, emotion positivity, and naturalness of these movements. Three experiments were conducted. People showed consensus in aesthetic impressions even after controlling for emotion positivity, finding prototypical walks more aesthetically pleasing than atypical walks. This aesthetic prototype effect could be accounted for by a computational model in which walking actions are treated as a single category (as opposed to multiple emotion categories). The aesthetic impressions were affected both directly by the objective prototypicality of the movements, and indirectly through the mediation of perceived naturalness. These findings extend the boundary of category learning, and hint at possible functions for action aesthetics. [ABSTRACT FROM AUTHOR]

This thesis analyzes the use of various types of metaphors in a self-built corpus of political speeches delivered by the first president of the Republic of Ghana, Dr. Kwame Nkrumah, on his fight for Independence for Ghana and the whole of Africa. It aims to uncover how Dr. Nkrumah used rhetoric as a weapon to achieve his political aims and ideologies. In order to identify the metaphorical expressions, I used the Metaphor Identification Procedure developed by scholars at the VU University Amsterdam (abbreviated as MIPVU), which is a systematic and transparent procedure for identifying linguistic metaphors. By adopting MIPVU, lexical units of the sentences were examined, and then the contextual meaning of the unit was established to determine the more basic meaning. If the contextual meaning is contrasted with the basic meaning but can be understood in comparison with it, then the unit will be marked as a metaphor. A total sum of forty-three metaphorical expressions was identified in my self-built corpus. After the metaphors were identified, I followed the procedures of Critical Metaphor Analysis (CMA) to analyze the use of metaphors to reveal the underlying ideologies and rhetorical functions. It is found that Nkrumah frequently used the journey, war and religious metaphors to convey the intended message and achieve his political objectives. These metaphors can serve a series of functions, such as attracting attention to establish trust, providing an explanation through framing, expressing empathy, emotion or motivation, fulfilling aesthetic purpose as well as creating a political myth. More generally, metaphors as a powerful tool help make Nkrumah's political speeches more convincing. [ABSTRACT FROM AUTHOR]

Background: Aesthetics is the art of nursing that is expressive, subjective, and visible in the act of caring in nursing practice. Aesthetics in nursing practice satisfies holistic needs and achieves the quality of whole-person care. Purpose: The aim of this study is to describe the meanings of the lived experiences of cancer patients in terms of receiving care from the perspective of aesthetics in nursing practice. Methods: The hermeneutic phenomenological approach grounded on Gadamerian philosophy guided this study. Eleven Nepalese cancer patients who met the inclusion criteria shared their experiences through graphic illustrations (drawings) and interviews. Data were analyzed and interpreted following van Manen's phenomenological approach reflective of the four life worlds. The trustworthiness of findings was established following the criteria by Lincoln and Guba. Results: Thematic categories of the lived experience of cancer patients were revealed, reflecting the four life worlds: lived relation expressed as being nurtured as a family; lived space as appreciating the healing space; lived time as being hopeful; and lived body as receiving a new life. This experience was described as experiencing self and other while appreciating the healing space, being hopeful and nurtured as family and having a new life. Implications for Practice: Aesthetics in nursing practice values on politely nurturing cancer patients as nurses' family members in a pleasant healing environment. Further, cancer patients experience having a new life. [ABSTRACT FROM AUTHOR]

The performance art of magic allows us to experience the impossible, and this study used a balancing magic trick to investigate the relationship between participants' enjoyment and perceived impossibility. Participants watched a live performance of a magic trick in which the magician balanced objects in progressively more impossible configurations. At seven different time points observers rated their enjoyment, and the extent to which they believed what they saw was impossible. Regression analysis revealed that participants' enjoyment of the magical effect relates to their perceived impossibility of the magic trick, and this relationship was independent of how much they enjoyed magic in general. Moreover, a one-way within-subjects analysis of variance showed that participants enjoyed the performance More as the trick became more impossible. However, once the magical effect was anticipated, enjoyment began to plateau while perceived impossibility continued to increase. These results are discussed in the context of people's aesthetic appreciation of magic and current arts appreciation models. [ABSTRACT FROM AUTHOR]

The fashion industry has been critiqued for promoting ultra-thin bodies, yet the relationship between models' aesthetic labor and eating disorder (ED) development is unclear. Using interpretive phenomenological analysis, we explored the lived experiences of nine female fashion models including metaphors they used to describe body perceptions and eating behaviors. Four superordinate themes emerged: Shaped for the industry; The body as a market product; Food restriction ("it's almost glamorized"); Toward a healthier modelhood. Models' career trajectories were those of lost childhoods, punitive body rules, inadequate dietary advice, and self-regulated food restriction. Models were "shaped" by agents from an early age to conform to the industry's body rules irrespective of the physiological and psychological consequences. A "toxic" side to this aesthetic industry was depicted; agents were judged callous and money-focused, while idioms like, "feeling like a piece of meat" and "being a hanger of clothes" conveyed a deep sense of degradation and objectification. Ideas instilled at a formative age continued to influence self-image and eating patterns into maturity, pointing to an industrial element to the construction of eating disorders. Our study highlights how infantilization, sexism, and other unethical elements become normalized in poorly regulated industries such as fashion, with dire consequences for the health and wellbeing of employees. Model agencies should recognize the impact of occupational edicts and poor communication on young recruits in a sensitive phase of personality development. Finally, we advocate for more acknowledgment and further investigation into eating disorder construction commercial/industrial side. [ABSTRACT FROM AUTHOR]

"Emotion itself" is the core concept of Li Zehou's aesthetics. This concept appeared roughly around the late 1980s, and Li gave a systematic account of it in the 1990s. Li Zehou's theory of "emotion itself" was related to his understanding of Confucianism, and particularly his uncovering the "emotional" connotations in original Confucianism. Li Zehou came up with "emotion itself" for several reasons. First, he was dissatisfied with modern New Confucianism as represented by Mou Zongsan and others. Second, it was a criticism of attempts by cultural Christians to introduce Christianity to resolve the so-called transcendental deficiency of Chinese culture. Third, it arose out of a need to complete the human natures of Chinese people in the molding of aesthetic emotions to give their souls comfort and belonging. While explaining these reasons, Li Zehou introduced Confucian perspectives and constructed his aesthetics of "emotion itself" while releasing the emotional dimensions of Confucianism. Both in terms of completing Li Zehou's own theoretical system and answering the question of the nature of aesthetics, Li Zehou's contemporary presentation of the aesthetics of "emotion itself" had great significance and enlightenment regarding how contemporary Chinese cultural creation can link up with tradition. [ABSTRACT FROM AUTHOR]

Increasing the aesthetic quality of a shape is an important objective for enhancing the attractiveness of a product. Many studies on shape generation systems are based on the user's emotion as a means of supporting the ideas of product designers. However, most of the proposed systems are unsuitable for extrapolation of shapes because they rely on the subjective evaluation of the user to determine the shape of an object. Experimental aesthetics theory suggests that a moderate level of novelty and complexity yields pleasant feelings. Furthermore, a mathematical model has been proposed for this theory that focuses on the sum of the information content induced by the novelty and complexity of an object. In this study, we formulated the novelty and complexity of contoured shapes and developed a system that generates a variety of shapes with the given novelty and complexity parameters. We conducted experiments using the generated butterfly and automobile shapes. The results indicate that the system can independently manipulate the novelty and complexity of a shape and affect its interestingness. The system may support the evaluation and further investigation of the most acceptable level of novelty and complexity with respect to the product shape. [ABSTRACT FROM AUTHOR]

In Hindu practices and narratives, otherworldly and nonhuman beings appear with nonhuman and otherworldly bodies and feelings. In this article, I draw from ethnographic fieldwork as well as from philology to outline the widespread perception of divine presence or emotion as "heat". This embodied idea or multi-sensual "aesthetic blend", as I propose to call it, can be found in very diverse cultural and historical traditions of South Asia. It is more than a concept, a "mapping" or a metaphor, insofar as it informs how people not only think of, but sensually encounter the bodies of goddesses and gods. By adding this new term to the vocabulary of the Study of Religions, I intend to build upon the focus on embodied, enacted and situated religion, as it has become prominent within the discipline, to see the seemingly disembodied texts and stories in a new light. Does, in the end, the way divine bodies are imagined feed back into how humans conceptualize and feel their own bodies? [ABSTRACT FROM AUTHOR]

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives' frequency and salience revealed that 'beautiful' was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of 'beautiful' was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of 'beautiful' depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences. [ABSTRACT FROM AUTHOR]

The article stems from the acknowledgment of the popularity of The Beatles' faces within popular music and popular culture altogether. Unlike some contemporary and successive male rockstars, the band focused their aesthetic appeal entirely on the faces (and on clothing), omitting other body parts, and therefore keeping astray from a "sex symbol" status in a conventional, eroticized sense. The article analyses the cultural role of The Beatles' faces in terms of aesthetic features (the face as a whole as well as face parts), face expressions (display of emotions such as anger, sadness and others), face performances (movements/activities of the face), and extensions/prostheses (glasses, makeup...). These parameters are applied to the chronological development of the face looks adopted by The Beatles during their activity and to the case study of those album covers featuring face close-ups of the band. Additional notes are presented in the area of face representation within the band's musical repertoire. [ABSTRACT FROM AUTHOR]

Despite the growing "data imperative" and "fetishization of data" across organizational contexts, critical scholars have adhered to a set of normative understandings for how people experience and engage with data and datafication in and around organizations: namely, as numbers and statistics that are "captured", interpreted, and operationalized. In reality, however, data and datafication are experienced within organizational life in a multiplicity of ways that often have very little to do with numbers and statistics. In this essay, we shift our attention to these less overt and less examined ways in which data and datafication shape organizational life—specifically, the aesthetic, emotional, and discursive aspects of our everyday encounters with it. By attending to the multiple, complex, and nuanced entanglements of data and organization, organizational scholars will be better equipped to navigate the increasingly fraught terrain between technocratic data worship and anti-science politics that characterize the current political moment. In doing so, we hope to contribute to a more politicized, historicized, and democratized data studies that can support movements for social, economic, and ecological justice. [ABSTRACT FROM AUTHOR]

Fashion model selection is a targeted case of aesthetic evaluation. For almost 100 years—beginning with data which Herbert Blumer collected in the 1930s—scholars have tried to understand how models are selected. Most have taken a critical and structural approach. I rely instead on a microsociology which centers endogenous decision processes. It highlights the agency and constraints of situational perception and situational stratification, yielding a novel analysis of the casting encounter. Data comes from an ethnography of a fashion week in a semi-peripheral city. It includes backstage evaluations gathered during a stint as a casting agent. I find that agents surprisingly ignore faces, instead focusing on the embodied cues of height/heels, the walk, and body size. Sustained microsociological analysis opens a layered mode of perception highlighting the dynamics of time, attention, emotion, and situations. [ABSTRACT FROM AUTHOR]