Application of the Vienna Integrated Model of topdown and bottom-up processes in art perception (VIMAP) in the aesthetic analysis of the tattoo phenomenon

Abstract

This work attempts to apply contemporary models of art perception to the phenomenon of tattooing. This ‘experiment’ is justified by the insufficient study of the phenomenon of tattooing in the context of aesthetic analysis, compared to its in-depth exploration in historical and anthropological discourses. The first part of the work provides brief information about empirical aesthetics as a modern discipline of philosophical aesthetics. Next, in order to apply the analysis of tattoos from the perspective of neuroaesthetics, two models of aesthetic experience formation that are most widespread in modern research are considered: the model of H. Leder and the model of M. Pelovski. The text provides key excerpts from each model, which will later be applied to the consideration of tattoos as objects of aesthetic analysis. After highlighting the key points in each model, the text offers a comparative analysis of tattoo perception using the Vienna Model of Art Perception (VIMAP). The analysis of tattoos from the perspective of neuroaesthetic research reveals a number of results. The first of these is the confirmation of the hypothesis about the conditional applicability of VIMAP not only to works of art, but also to everyday objects. The second result reveals the indicated ‘conditional’ applicability, since during the analysis, examples were found that did not correspond to all five outcomes of the indicated model. Based on the results of the analysis, the following outcomes of VIMAP were identified in relation to the perception and judgement of tattoos: the first, superficial; the second, consisting of novelty; fourth, denial and negative attitude. For the third outcome of the model, it is suggested that such a result can be achieved during the perception of tattoos in a community of tattooed people at festivals. The fifth outcome of the model has not been identified, as its discovery is not limited solely to the application of an image to one's own body, but implies a fundamental restructuring of the personality model. The lack of examples to illustrate the latter result, cited by M. Pelovski, suggests further research into cases of transformation associated with tattooing.

The conclusion of this work presents tasks for further research into the perception of tattoos within the framework of their aesthetic analysis. It is assumed that the application of the results of neuroaesthetic research may also serve to solve the tasks set in the future.