Integrated Methods: A Call for Integrative and Interdisciplinary Aesthetics Research

TY - CHAP

T1 - Integrated Methods

T2 - A Call for Integrative and Interdisciplinary Aesthetics Research

AU - Tröndle, Martin

AU - Greenwood, Steven

AU - Ramakrishnan, Chandrasekhar

AU - Uhde, Folkert

AU - Egermann, Hauke

AU - Tschacher, Wolfgang

PY - 2022/4

Y1 - 2022/4

N2 - Integration of methods is an option for interdisciplinary research settings, allowing in­ sights into the fleeting moments of aesthetic experience. This chapter aims to exemplify such research settings by introducing two research projects: eMotion: MappingMuseum Experience and ECR—Experimental Concert Research. eMotion concerned aesthetic ex­ periences in the environment of a fine arts museum, and ECR investigates music experi­ ence in concerts. Both projects were conducted in ecologically valid environments: the fine art museum and the classical concert hall, respectively. The technical setup of both projects merged different data levels—body movement, heart rate, skin conductance, fa­ cial expressions, sociological variables, and emotional and aesthetic evaluations of specif­ ic artworks or musical pieces—into an integrated dataset. In both projects, scientists (from musicology, art history, psychology, cultural studies, etc.), technicians, and pro­ grammers, as well as practitioners like artists, musicians, and curators, were brought to­ gether to intensively cooperate. The chapter elaborates on the aspects of such inter- and transdisciplinary research endeavors.

AB - Integration of methods is an option for interdisciplinary research settings, allowing in­ sights into the fleeting moments of aesthetic experience. This chapter aims to exemplify such research settings by introducing two research projects: eMotion: MappingMuseum Experience and ECR—Experimental Concert Research. eMotion concerned aesthetic ex­ periences in the environment of a fine arts museum, and ECR investigates music experi­ ence in concerts. Both projects were conducted in ecologically valid environments: the fine art museum and the classical concert hall, respectively. The technical setup of both projects merged different data levels—body movement, heart rate, skin conductance, fa­ cial expressions, sociological variables, and emotional and aesthetic evaluations of specif­ ic artworks or musical pieces—into an integrated dataset. In both projects, scientists (from musicology, art history, psychology, cultural studies, etc.), technicians, and pro­ grammers, as well as practitioners like artists, musicians, and curators, were brought to­ gether to intensively cooperate. The chapter elaborates on the aspects of such inter- and transdisciplinary research endeavors.

U2 - 10.1093/oxfordhb/9780198824350.013.18

DO - 10.1093/oxfordhb/9780198824350.013.18

M3 - Chapter

BT - The Oxford Handbook of Empirical Aesthetics

A2 - Nadal, Marcos

A2 - Vartanian, Oshin

PB - Oxford University Press

ER -