200027 PS Proseminar zu Allgemeiner Psychologie (2025W)
Introduction to Empirical Aesthetics
Prüfungsimmanente Lehrveranstaltung
Labels
An/Abmeldung
Hinweis: Ihr Anmeldezeitpunkt innerhalb der Frist hat keine Auswirkungen auf die Platzvergabe (kein "first come, first served").
- Anmeldung von Mo 01.09.2025 09:00 bis Do 25.09.2025 09:00
- Abmeldung bis Mi 01.10.2025 09:00
Details
max. 40 Teilnehmer*innen
Sprache: Englisch
Lehrende
Termine (iCal) - nächster Termin ist mit N markiert
- Dienstag 07.10. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 14.10. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 21.10. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 28.10. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 04.11. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 11.11. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 18.11. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 25.11. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 02.12. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 09.12. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 16.12. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 13.01. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 20.01. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
- Dienstag 27.01. 11:30 - 13:00 Hörsaal G Psychologie, Liebiggasse 5, 2. Stock
Information
Ziele, Inhalte und Methode der Lehrveranstaltung
Art der Leistungskontrolle und erlaubte Hilfsmittel
Credit: 6 ECTS (150 hours; 1 ECTS = 25 hours)At the beginning of the course, each student will be assigned one of four topics (Music, Fiction and Empathy, Tattoos, Art & Social Media). Topics will be distributed on a first-come, first-served basis, but students may exchange topics by mutual agreement. Within this topic, students will complete after-class assignments, prepare a short research proposal, and present it to the class.Continuous assessment consists of four components:
• Active Participation – attendance and completion of after-class assignments (40%; ~60 hours / 2.4 ECTS)
• Proposal – a short research proposal (approx. 800 words), based on after-class assignments or newly written (20%; ~30 hours / 1.2 ECTS)
• Presentation – approx. 5-minute presentation of the proposal (25%; ~38 hours / 1.5 ECTS)
• Peer-Review Feedback – evaluation of two peer presentations using the provided template, plus personal feedback (15%; ~22 hours / 0.9 ECTS)The total sum of above assessments will constitute the final grade. Passing grade (4) = 60%.• Grade 1 (Sehr gut) = 100–90%
• Grade 2 (Gut) = 89–80%
• Grade 3 (Befriedigend) = 79–70%
• Grade 4 (Genügend) = 69–60%
• Grade 5 (Nicht genügend) = below 60%
• Active Participation – attendance and completion of after-class assignments (40%; ~60 hours / 2.4 ECTS)
• Proposal – a short research proposal (approx. 800 words), based on after-class assignments or newly written (20%; ~30 hours / 1.2 ECTS)
• Presentation – approx. 5-minute presentation of the proposal (25%; ~38 hours / 1.5 ECTS)
• Peer-Review Feedback – evaluation of two peer presentations using the provided template, plus personal feedback (15%; ~22 hours / 0.9 ECTS)The total sum of above assessments will constitute the final grade. Passing grade (4) = 60%.• Grade 1 (Sehr gut) = 100–90%
• Grade 2 (Gut) = 89–80%
• Grade 3 (Befriedigend) = 79–70%
• Grade 4 (Genügend) = 69–60%
• Grade 5 (Nicht genügend) = below 60%
Mindestanforderungen und Beurteilungsmaßstab
• Foundational sessions (07/10–18/11): Absences are only permitted with valid justification (e.g., overlapping exam, illness with confirmation).• Proposal Presentation sessions (25/11-16/12): Students must attend at least their own presentation session; attendance at additional sessions is encouraged but not required.If you do not attend the first class without contacting the lecturer in advance, your place may be given to a student on the waiting list.
Prüfungsstoff
Literatur
Partial Literature List:3. Contemporary aesthetics (Tattoos)
Weiler, S. M, & Jacobsen, T. (2021). “I'm getting too old for this stuff”: The conceptual structure of tattoo aesthetics, Acta Psychologica, 219, 103390. https://doi.org/10.1016/j.actpsy.2021.103390
Broussard, K. H., & Harton, H. C. (2018). Tattoo or taboo? Tattoo stigma and negative attitudes toward tattooed individuals, The Journal of Social Psychology, 158 (5), 521–540. https://doi.org/10.1080/00224545.2017.13736224. Music
Brattico, E., Bogert, B., Jacobsen, T. (2013). Toward a neural chronometry for the aesthetic experience of music, Frontiers in Psychology, 4, 206. https://doi.org/10.3389/fpsyg.2013.00206
Linnemann, A., Ditzen, B., Strahler, J., Doerr, J. M., & Nater, U. M. (2015). Music listening as a means of stress reduction in daily life. Psychoneuroendocrinology, 60, 82-90. doi: 10.1016/j.psyneuen.2015.06.0085. Fiction & Empathy
Mar, R. A., & Oatley, K. (2008). The Function of Fiction is the Abstraction and Simulation of Social Experience, Perspectives on Psychological Science, 3(3), 173-192. https://journals.sagepub.com/doi/abs/10.1111/j.1745-6924.2008.00073.x
Djikic, M., Oatley, K., & Moldoveanu, M. C., (2013) Reading other minds: Effects of literature on empathy, Scientific Study of Literature, 3(1), 28-47. https://doi.org/10.1075/ssol.3.1.06dji7. Well-being and art
Mastandrea, S., Fagioli, S., & Biasi, V. (2019). Art and psychological well-being: Linking the brain to the aesthetic emotion. Frontiers in Psychology, 10, 1–7. doi: 10.3389/fpsyg.2019.00739
Trupp, M. D., Bignardi, G., Specker, E., Vessel, E. A., & Pelowski, M. (2023). Who benefits from online art viewing, and how: The role of pleasure, meaningfulness, and trait aesthetic responsiveness in computer-based art interventions for well-being. Computers in Human Behavior, 145, 107764. https://doi.org/10.1016/j.chb.2023.10776410. Art and Artificial Intelligence
Casini, L., & Roccetti, M. (2018). The impact of AI on the musical world: Will musicians be obsolete? Studi Di Estetica, 12(3), 119–134. doi:10.7413/18258646064
Demmer, T. R., Kühnapfel, C., Fingerhut, J., & Pelowski, M., (2023). Does an emotional connection to art really require a human artist? Emotion and intentionality responses to AI- versus human-created art and impact on aesthetic experience, Computers in Human Behavior, 148, 107875. https://doi.org/10.1016/j.chb.2023.10787512. Aesthetics & Social Media
Leder, H., Hakala, J., Peltoketo, V-T., Valuch, C., & Pelowski, M. (2022). Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs, Frontiers in Psychology, 13. https://doi.org/10.3389/fpsyg.2022.786977
Thömmes, K., & Hübner, R. (2022). Why people press “like”: A new measure for aesthetic appeal derived from Instagram data. Psychology of Aesthetics, Creativity, and the Arts, 16(3), 437–454. https://doi.org/10.1037/aca0000331
Weiler, S. M, & Jacobsen, T. (2021). “I'm getting too old for this stuff”: The conceptual structure of tattoo aesthetics, Acta Psychologica, 219, 103390. https://doi.org/10.1016/j.actpsy.2021.103390
Broussard, K. H., & Harton, H. C. (2018). Tattoo or taboo? Tattoo stigma and negative attitudes toward tattooed individuals, The Journal of Social Psychology, 158 (5), 521–540. https://doi.org/10.1080/00224545.2017.13736224. Music
Brattico, E., Bogert, B., Jacobsen, T. (2013). Toward a neural chronometry for the aesthetic experience of music, Frontiers in Psychology, 4, 206. https://doi.org/10.3389/fpsyg.2013.00206
Linnemann, A., Ditzen, B., Strahler, J., Doerr, J. M., & Nater, U. M. (2015). Music listening as a means of stress reduction in daily life. Psychoneuroendocrinology, 60, 82-90. doi: 10.1016/j.psyneuen.2015.06.0085. Fiction & Empathy
Mar, R. A., & Oatley, K. (2008). The Function of Fiction is the Abstraction and Simulation of Social Experience, Perspectives on Psychological Science, 3(3), 173-192. https://journals.sagepub.com/doi/abs/10.1111/j.1745-6924.2008.00073.x
Djikic, M., Oatley, K., & Moldoveanu, M. C., (2013) Reading other minds: Effects of literature on empathy, Scientific Study of Literature, 3(1), 28-47. https://doi.org/10.1075/ssol.3.1.06dji7. Well-being and art
Mastandrea, S., Fagioli, S., & Biasi, V. (2019). Art and psychological well-being: Linking the brain to the aesthetic emotion. Frontiers in Psychology, 10, 1–7. doi: 10.3389/fpsyg.2019.00739
Trupp, M. D., Bignardi, G., Specker, E., Vessel, E. A., & Pelowski, M. (2023). Who benefits from online art viewing, and how: The role of pleasure, meaningfulness, and trait aesthetic responsiveness in computer-based art interventions for well-being. Computers in Human Behavior, 145, 107764. https://doi.org/10.1016/j.chb.2023.10776410. Art and Artificial Intelligence
Casini, L., & Roccetti, M. (2018). The impact of AI on the musical world: Will musicians be obsolete? Studi Di Estetica, 12(3), 119–134. doi:10.7413/18258646064
Demmer, T. R., Kühnapfel, C., Fingerhut, J., & Pelowski, M., (2023). Does an emotional connection to art really require a human artist? Emotion and intentionality responses to AI- versus human-created art and impact on aesthetic experience, Computers in Human Behavior, 148, 107875. https://doi.org/10.1016/j.chb.2023.10787512. Aesthetics & Social Media
Leder, H., Hakala, J., Peltoketo, V-T., Valuch, C., & Pelowski, M. (2022). Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs, Frontiers in Psychology, 13. https://doi.org/10.3389/fpsyg.2022.786977
Thömmes, K., & Hübner, R. (2022). Why people press “like”: A new measure for aesthetic appeal derived from Instagram data. Psychology of Aesthetics, Creativity, and the Arts, 16(3), 437–454. https://doi.org/10.1037/aca0000331
Zuordnung im Vorlesungsverzeichnis
70231
Letzte Änderung: Mo 27.07.2026 09:27
The course begins with foundational sessions, during which students will practice and develop their own research proposals. In the later sessions, the focus will shift to student-led discussions, where proposals are presented and critically reviewed by peers. Active participation, constructive feedback, and engagement in critical discussions are expected from all students.Methods: lectures, active participation, student presentations, peer reviews, and preparation of a short research proposal.After completing this course, you will be able to:• Understand the principles of scientific psychology and communication, and gain insight into the work of scientists.
• Discuss and explain central topics in aesthetics, perception, and beauty.
• Summarize and evaluate research papers.
• Critically analyze papers (e.g., identify gaps, propose next steps).
• Deliver academic presentations.
• Construct a short research proposal.
- Find and compare research papers.
- Prioritize arguments effectively.
- Discuss prior findings and critique their methods.
- Formulate new research questions and hypotheses.
- Address research questions with empirical methods.
- Apply APA 7th reference style.Schedule
07/10/2025 – Syllabus & Introduction
14/10/2025 – What an Empirical Paper Looks Like & How to Read It
21/10/2025 – Extracting Research Questions & Hypotheses / Creating Your Own
28/10/2025 – Experimental Design & Practice
04/11/2025 – Data Analysis & Practice
11/11/2025 – Writing & Presentation
18/11/2025 – Evaluation & Peer-Review Feedback
25/11/2025 – Student Proposal Presentations (Topic: Music)
02/12/2025 – Student Proposal Presentations (Topic: Fiction and Empathy)
09/12/2025 – Student Proposal Presentations (Topic: Creativity)
16/12/2025 – Student Proposal Presentations (Topic: Art & Social Media)
— WINTER BREAK —
13/01/2026 – – No Class –
20/01/2026 – Feedback on Proposals & Improvement Tips
27/01/2026 – Final Feedback & Closing