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  1.  30
    Passivity in Aesthetic Experience: Husserlian and Enactive Perspectives.Tone Roald & Simon Høffding - 2019 - Journal of Aesthetics and Phenomenology 6 (1):1-20.
    ABSTRACTThis paper argues that the Husserlian notion of “passive synthesis” can make a substantial contribution to the understanding of aesthetic experience. The argument is based on two empirical cases of qualitative interview material obtained from museum visitors and a world-renowned string quartet, which show that aesthetic experience contains an irreducible dimension of passive undergoing and surprise. Analyzing this material through the lens of passive syntheses helps explain these experiences, as well as the sense of subject–object fusion that occurs in some (...)
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  2.  12
    Affective incarnations: Maurice Merleau-Ponty’s challenge to bodily theories of emotion.Tone Roald, Kasper Levin & Simo Køppe - 2018 - Journal of Theoretical and Philosophical Psychology 38 (4):205-218.
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  3.  4
    The Subject of Aesthetics: A Psychology of Art and Experience.Tone Roald - 2015 - Brill | Rodopi.
    In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.
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  4.  29
    Being Moved by Art: A Phenomenological and Pragmatist Dialogue.Simon Høffding, Carlos Vara Sánchez & Tone Roald - forthcoming - Estetika: The European Journal of Aesthetics 59 (2):85-102.
    This article integrates John Dewey’s _Art as Experience_, Mikel Dufrenne’s _Phenomenology of Aesthetic Experience_, and phenomenological interviews with museum visitors to answer what it means to be ‘moved by art’. The interviews point to intense affective and existential experiences, in which encounters with art can be genuinely transformative. We focus on Dufrenne’s notion of ‘adherent reflection’ and Dewey’s notions of ‘doing and undergoing’ to understand the intentional structure and dynamics of such experiences, concluding that being moved contains two merged forms (...)
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  5.  16
    Aesthetic Empathy: An Investigation in Phenomenological Psychology of Visual Art Experiences.Jannik M. Hansen & Tone Roald - 2022 - Journal of Phenomenological Psychology 53 (1):25-50.
    Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...)
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  6.  35
    Toward a Phenomenological Psychology of Art Appreciation.Tone Roald - 2008 - Journal of Phenomenological Psychology 39 (2):189-212.
    Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...)
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  7.  25
    Visual Art and the Rhythm of Experience.Kasper Levin, Tone Roald & Bjarne Sode Funch - 2019 - Journal of Aesthetics and Art Criticism 77 (3):281-293.
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  8.  8
    Imagination and the Imaginary.Anders Essom-Stenz & Tone Roald - 2019 - The European Legacy 24 (7-8):866-868.
    Volume 24, Issue 7-8, November - December 2019, Page 866-868.
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  9.  8
    Sense and subjectivity. Hidden potentials in psychological aesthetics.Tone Roald & Simo Køppe - 2015 - Journal of Theoretical and Philosophical Psychology 35 (1):20-34.
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