Relating movements in aesthetic spaces: Immersing, distancing, and remembering.

According to Aby Warburg, the aesthetic experience is informed by a pendulum-like movement of the observer's mind that allows him to immerse as well as to take distance from the artwork's composing elements. To account for Warburg's definition, we are proposing embodied simulation and associative processing as constitutive mechanisms of this pendulum-like movement within the aesthetic experience that enable the observer to relate to the displayed artistic material within aesthetic spaces. Furthermore, we suggest that associative processing elicits constructive memory processes that permit the development of a knowledge within which the objects of art become part of memory networks, potentially informing future ways of thinking, feeling, and behaving in real-world situations, as an individual or collectively.