Aesthetic perceptions and judgment are not simply psychological procedures, yet in addition, including sentiments. Despite the lasting enthusiasm for such feelings, we still come up short of an instrument to catch the broad realm of feelings that occur in response to perceiving aesthetics of what is just a stimulus.
How does beauty feel? Emotions accompany and inform our experiences with nature. Natural meaning exists where one thing or property is a reliable indicator or sign of something else. We observe natural meaning everywhere: in facial expressions, smiles mean happiness, frowns mean sadness; in physical symptoms of illnesses, bumps mean measles; in features of nature, rain clouds mean rain, and in things that stem from more culturally specific, or conventional, relations like the recent budget means that we shall have a hard year.
Similarly, we can understand the notion of showing nonnatural meaning and communicating what is nowhere related in fact altogether deceptive. As a very selective fan of the art of cinema, there is an observation that arises over the years that film analysis and critique often refer to a theoretical audience to explain how viewers should feel in particular moments of the film. And this has led to the ultimate beginning of an art of romanticizing mental illness without realizing its jeopardy nature.
The Artsy depiction of depression of mischievously playful haunted eyes, good at art, emo hair, and eye-liner always at the point has dramatically overshadowed the actual depression of bloodshot eyes with no longer trust themselves with pencils, has not showered in five days.
Or, the Quirky OCD who has organized bookshelves, cleanest rooms, and color-coordinated outfits eclipsing the real symptoms of being obsessed, having intrusive thoughts, flipping the light switch eight times so you don’t stab in yourself while picking up holes in your skin.
The Charming eating disorders, slim trim and beautiful, shyly refusing a second helping, with dancer aesthetics subtly falsing the puffy cheeks of aboveboard sickness. Eroded teeth from excessive vomiting, hair growing over your freezing body, and refusing to eat carrots because they are too high in carbs.
About Adorable anxiety, something just a small bean, soft, must be protected from the world in place of deep grievous crying, so hard that you throw up, shaking, losing sleep over a period after the “okay”.
The RPG PTSD mostly occupied by flashbacks, the Vietnamese look, and never-ending ‘you don’t know what I’ve been through kiddo’ but for the sake of being insufficiently real it is nothing more than buying your first pregnancy kit at twelve, flinching at high fives, ‘I can feel something in my stomach’.
And the Cute cartoony ADHD, look a squirrel, something shiny in eyes and fidgety lovable buffoon is an offence of actual ADHD of reading the same page over and over because it doesn’t make sense, hasn’t done the laundry in four months, hyper-focusing on a mushroom knowing you have work to do stop making terrifying realities seem cute.
Or, the happy anime face UWU baby autism, awww adorable awkward, huggable acts cute when confused, has some sort of Rainman talent and perfect memory, in general, is a little disrespectful to the worry about whether you are interpreting people’s cues correctly, making your tone sound correct for the context, or whether you are about to get weird out because you said something, sensory issues that are driving you nuts, of what is real autism.
There isn’t much theoretical support for the idea that we see-as when we imaginatively engage with a film’s fiction. As mere hints at such a phenomenon; perceiving movie depth is not the same as perceiving real-world depth; and the way in which we ‘see-through’ the film screen and overlook the nature of the images as images depend upon our being aware of it as a film screen. The fact that we’re imaginatively engaged in the fiction doesn’t change or remove, this medium awareness. Although one perceptual experience alters when we’re engaged in the pretense—i.e., we still have the same behavioral responses and expectations; we still follow the narrative unproblematically; things still don’t look like they’re ‘popping out’ at us, and the images still look to be the sizes they are.
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