Cox Ralf F A, van Klaveren Lisa-Maria
University of Groningen, the Netherlands.
Perception. 2025 Jun;54(6):431-440. doi: 10.1177/03010066251329918. Epub 2025 Apr 3.
The aim of this study was to contribute to our understanding of embodied art experiences. We were interested in the emerging relationship between artwork, on the one hand, and one's bodily movements and associated embodied affective states on the other. Concretely, postural control of 46 participants looking at a diverse set of 21 20th-century abstract paintings was analysed. Also, we explored the relation between postural control, emotional states of being moved and aesthetic appraisal. Results did not reveal differences in postural control between the paintings. However, differences in variability, dynamic stability, complexity and intermittency of postural sway were found, when comparing subsets of high-motion and low-motion paintings and between subclasses of abstract painting styles. Emotional states of being moved and aesthetic appraisal were associated with postural control, both across paintings and across people in several ways. Together these findings provide empirical evidence for an embodied art experience.
本研究的目的是增进我们对具身艺术体验的理解。一方面，我们关注艺术品与另一方面人的身体动作及相关具身情感状态之间新出现的关系。具体而言，我们分析了46名观看21幅不同20世纪抽象画的参与者的姿势控制情况。此外，我们还探究了姿势控制、被感动的情绪状态与审美评价之间的关系。结果并未显示出不同画作之间姿势控制存在差异。然而，在比较高动感和低动感画作子集以及抽象绘画风格子类之间时，发现姿势摆动的变异性、动态稳定性、复杂性和间歇性存在差异。被感动的情绪状态和审美评价在多种方式上与姿势控制相关，无论是在不同画作之间还是在不同人之间。这些发现共同为具身艺术体验提供了实证证据。
