TY - JOUR
T1 - How Do We Move in Front of Art? How Does This Relate to Art Experience?
T2 - Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting
AU - Kühnapfel, Corinna
AU - Fingerhut, Joerg
AU - Brinkmann, Hanna
AU - Ganster, Victoria
AU - Tanaka, Takumi
AU - Specker, Eva
AU - Mikuni, Jan
AU - Güldenpfennig, Florian
AU - Gartus, Andreas
AU - Rosenberg, Raphael
AU - Pelowski, Matthew
PY - 2024
Y1 - 2024
N2 - 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.
AB - 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.
KW - art experience
KW - art expertise
KW - embodiment
KW - eye-tracking
KW - movement-tracking
KW - museum study
UR - http://www.scopus.com/inward/record.url?scp=85150747468&partnerID=8YFLogxK
U2 - 10.1177/02762374231160000
DO - 10.1177/02762374231160000
M3 - Article
SN - 0276-2374
VL - 42
SP - 86
EP - 146
JO - Empirical Studies of the Arts
JF - Empirical Studies of the Arts
IS - 1
ER -