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Abstract：
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. 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. However, the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body\'s role in the experience of Tomás Saraceno\'s in orbit installation. 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. 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. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. 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.
摘要：
安装艺术，以其身临其境和参与性的特点，有人认为需要身体的使用和意识，这可能构成艺术品体验和欣赏的关键部分。提高身体意识甚至被认为是特别深刻的情感甚至变革状态的关键，经常归因于这种类型。然而,身体在装置艺术的经验很少被经验地考虑。为了解决这个差距，我们调查了身体在托马斯·萨拉塞诺在轨安装的经验中的作用。根据对理论文献的回顾创建的自我报告项目列表，我们-首次捕获（定量和定性）：访客（N=230）报告了什么样的主观身体体验，这些项目如何分组(使用网络科学)，以及这些与情感的关系，艺术鉴定,和变革性的结果。对项目的网络分析确定了与“相互感受”相关的四个社区，\"\"存在，\“\”干扰，“和”本体感受。\“本体感受(例如，平衡/运动/重量的意识）在我们的研究中被证明是艺术欣赏的重要决定因素，and,连同“令人不安的”身体体验（感觉尴尬/被观看/发冷），恰逢转型。我们还评估了身体意识的个体差异，但没有发现这些关系是温和的。我们建议对装置艺术进行进一步的研究，以对身体在体现-活跃美学中的作用及其与艺术体验的强度和影响的关系进行更统一的评估。
