![]() A growing number of studies have considered our reactions to art's visual properties, our emotional and cognitive responses, locations of activations in the brain related to aesthetic experience, as well as various factors which influence our reactions, such as context or individual differences (see Chatterjee and Vartanian, 2016 Pelowski and Specker, 2020 for reviews). Over the last two decades, the field of empirical aesthetics has offered a wealth of behavioral and neurophysiological insights into our engagement with art. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. Network analysis of the items determined four communities related to “interoception,” “presence,” “disturbance,” and “proprioception.” Proprioception (e.g., awareness of balance/movement/weight) turned out to be a significant determinant of art appreciation in our study, and, together with “disturbing” body experiences (feeling awkward/watched/chills), coincided with transformation. Based on a list of self-report items created from a review of the theoretical literature, we-for the first time-captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors ( N = 230) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. To address this gap, we investigated the body's role in the experience of Tomás Saraceno's in orbit installation. However, the body in the experience of installation art has rarely been empirically considered. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. Installation art, with its immersive and participatory character, has been argued to require the use and awareness of the body, which potentially constitute key parts of the artwork's experience and appreciation.
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