The problem of rightness was introduced when scholars in the humanities attempted to explain our interest in some objects (rather than others) in terms of aesthetic values and properties that are connected to “ideals” about beauty and ugliness, which provoke pleasure and displeasure, respectively, in a perceiver. However, from a phenomenological point of view, there was at least an unspecified interest in some objects rather than others.
The proposed model overcomes several problems of transcendental, art-centered, and objective aesthetics as it offers an alternative to the idea of aesthetic objects that carry inherent values by explaining “the aesthetic” as emergent in perception within a context of uncertain interaction.īefore explicit aesthetic judgments emerged in human culture, individuals did not necessarily discriminate objects 1 as exhibiting a type of rightness– a “proper” organization of features 2 –in their structure from other objects that did not ( Beardsley, 1975). This conception of aesthetic perception is compatible with contemporary evidence from neuroscience, experimental aesthetics, and interaction design. Aesthetic perception allows an agent to normatively anticipate interaction potentialities, thus increasing sense making and reducing the uncertainty of interaction.
Considering perception as an anticipatory and preparatory process of detection and evaluation of indications of potential interactions (what we call “interactive affordances”), we argue that the minimal content of aesthetic perception is an emotionally valued indication of interaction potentiality. Adopting a naturalistic perspective, we here view aesthetic perception as a normative process that enables agents to enhance their interactions with physical and socio-cultural environments. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under which aesthetic perception occurs, and what constitutes the content of these perceptions. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception.
Ioannis Xenakis 1* and Argyris Arnellos 2*
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