TAILIEUCHUNG - Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?

The term ‘aesthetic labour’ first appeared in 1999 from Dr Chris Warhurst and his team at the University of Strathclyde. Attempts are made to link the concept of aesthetic labour with the medieval Italian concept of sprezzatura. Also implicit, but not developed in this paper are decisions around the allocation of training resources to favoured employees. A different approach to ethics is introduced. The central question of this paper is as follows: ‘Do sprezzatura and aesthetic labour, in combination, have any relevance to contexts of work today?’ The nature of power in Robert Greene’s 48 Laws of Power has to. | Personality and Social Psychology Review 2004 Vol. 8 No. 4 364-382 Copyright 2004 by Lawrence Erlbaum Associates Inc. Processing Fluency and Aesthetic Pleasure Is Beauty in the Perceiver s Processing Experience Rolf Reber Department of Psychosocial Science University of Bergen Norway Norbert Schwarz Department of Psychology and institute for Social Research University of Michigan Piotr Winkielman Department of Psychology University of California San Diego We propose that aesthetic pleasure is a function of the perceiver s processing dynamics The more fluently perceivers can process an object the more positive their aesthetic response. We review variables known to influence aesthetic judgments such as figural goodness figure-ground contrast stimulus repetition symmetry and prototypicality and trace their effects to changes in processing fluency. Other variables that influence processing fluency like visual or semantic priming similarly increase judgments of aesthetic pleasure. Our proposal provides an integrative framework for the study of aesthetic pleasure and sheds light on the interplay between early preferences versus cultural influences on taste preferences for both prototypical and abstracted forms and the relation between beauty and truth. In contrast to theories that trace aesthetic pleasure to objective stimulus features per se we propose that beauty is grounded in the processing experiences of the perceiver which are in part a function of stimulus properties. What is beauty What makes for a beautiful face appealing painting pleasing design or charming scenery This question has been debated for at least 2 500 years and has been given a wide variety of answers Feagin 1995 Tatarkiewicz 1970 . However one can broadly distinguish three main positions. Many theorists dating back at least to Plato saw beauty as a property of an object that produces a pleasurable experience in any suitable perceiver Tatar- The reported research was supported by the Swiss National

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