It’s always difficult to read the reference slide in any presentation, so here are some references for a short talk I am giving on the motivations and methods of doing research in Empirical Aesthetics from the perspective of interactional analysis. If you were at the talk and want the slides – let me know:

Main talk

  1. Frieler, K., Mullensiefen, D., Fischinger, T., Schlemmer, K., Jakubowski, K., & Lothwesen, K. (2013). Replication in music psychology. Musicae Scientiae, 17(3), 265–276.
  2. Kendon, A. (2004). Gesture: Visible Action as Utterance. Cambridge, UK: Cambridge University Press.
  3. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology (London, England : 1953), 95(Pt 4), 489–508.
  4. Leder, H. (2013). Next steps in neuroaesthetics: Which processes and processing stages to study? Psychology of Aesthetics, Creativity, and the Arts, 7(1), 27–37.
  5. Makel, M. C., & Plucker, J. a. (2014). Creativity is more than novelty: Reconsidering replication as a creativity act. Psychology of Aesthetics, Creativity, and the Arts, 8(1), 27–29.
  6. Narasimhan, K. P., & White, G. (2014). Agent Clusters: The Usual vs. The Unusual. In Advances in Practical Applications of Heterogeneous Multi-Agent Systems. The PAAMS Collection (pp. 244-255). Springer International Publishing.
  7. Solhdju, K. (2006). Self-Experience as an Epistemic Practice: William James and Gustav Theodor Fechner. In K. Solhdju (Ed.), Self-Rapports. Shaping Ethical and Aesthetic Concepts 1800-2006. Berlin: Max-Planck-Institut für Wissenschaftsgeschichte.

Works cited in complimentary slides I may or may not have got to:

  • Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste. Cambridge Mass.: Harvard University Press.
  • Dickie, G. (1964). The myth of the aesthetic attitude. American Philosophical Quarterly, 1(1), 28–45.
  • Egermann, H., Pearce, M. T., Wiggins, G. a, & McAdams, S. (2013). Probabilistic models of expectation violation predict psychophysiological emotional responses to live concert music. Cognitive, Affective & Behavioral Neuroscience, 13(3), 533–53.
  • Garfinkel, H. (1967). Studies in ethnomethodology. America. Englewood Cliffs, New Jersey: Prentice-Hall Inc.
  • Ginsborg, H. (2010). Lawfulness without a Law. Philosophical Topics, 25(1), 37–82..
  • Kant, I. (2000). Critique of the Power of Judgment. (P. Guyer, Ed.). Cambridge: Cambridge University Press.
  • Kemp, G. (1999). the Aesthetic Attitude. The British Journal of Aesthetics, 39(4), 392–399.
  • Korsgaard, C., Cohen, G. A., Geuss, R., Nagel, T., & Williams, B. (1994). The sources of normativity. (O. O’Neill, Ed.)The Tanner Lectures on human values. Cambridge: Cambridge University Press
  • Montague, P. (2002). Hyperscanning: Simultaneous fMRI during Linked Social Interactions. NeuroImage, 16(4), 1159–1164.
  • O’Hagan, J. (1996). Access to and participation in the arts: the case of those with low incomes/educational attainment. Journal of Cultural Economics, (20), 269–282.
  • Schegloff, E. A. (1998). Body torque. Social Research, 65(5), 536–596.
  • Wolff, J. (1993). The Social Production of Art. New York, London: New York University Press.
  • Zolberg, V. L. (1990). Constructing a Sociology of the Arts. Cambridge: Cambridge University Press.