Feeling Fit for Function: Haptic Touch and Aesthetic Experience
dc.contributor.author | Roberts, T | |
dc.date.accessioned | 2022-01-04T10:49:39Z | |
dc.date.issued | 2022-01-03 | |
dc.date.updated | 2022-01-04T08:44:49Z | |
dc.description.abstract | Traditionally, the sense of touch—alongside the senses of taste and smell—has been excluded from the aesthetic domain. These proximal modalities are thought to deliver only sensory pleasures, not the complex, world-directed perceptual states that characterize aesthetic experience. In this paper, I argue that this tradition fails to recognize the perceptual possibilities of haptic touch, which allows us to experience properties of the objects with which we make bodily contact, including their weight, shape, solidity, elasticity, and smoothness. These features, moreover, may be indicative of how well-suited an object is for its function, and in feeling them we can thus feel the positive aesthetic quality of functional beauty. | en_GB |
dc.identifier.citation | Published online 3 January 2022 | en_GB |
dc.identifier.doi | https://doi.org/10.1093/aesthj/ayab032 | |
dc.identifier.uri | http://hdl.handle.net/10871/128270 | |
dc.identifier | ORCID: 0000-0002-6675-7060 (Roberts, Tom) | |
dc.language.iso | en | en_GB |
dc.publisher | Oxford University Press (OUP) / British Society of Aesthetics | en_GB |
dc.rights | © The Author(s) 2022. Published by Oxford University Press on behalf of the British Society of Aesthetics. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (https://creativecommons.org/licenses/by/4.0/), which permits unrestricted reuse, distribution, and reproduction in any medium, provided the original work is properly cited. | en_GB |
dc.title | Feeling Fit for Function: Haptic Touch and Aesthetic Experience | en_GB |
dc.type | Article | en_GB |
dc.date.available | 2022-01-04T10:49:39Z | |
dc.identifier.issn | 0007-0904 | |
dc.description | This is the final version. Available on open access from Oxford University Press via the DOI in this record | en_GB |
dc.identifier.eissn | 1468-2842 | |
dc.identifier.journal | British Journal of Aesthetics | en_GB |
dc.relation.ispartof | The British Journal of Aesthetics | |
dc.rights.uri | https://creativecommons.org/licenses/by/4.0/ | en_GB |
rioxxterms.version | VoR | en_GB |
rioxxterms.licenseref.startdate | 2022-01-03 | |
rioxxterms.type | Journal Article/Review | en_GB |
refterms.dateFCD | 2022-01-04T10:48:31Z | |
refterms.versionFCD | VoR | |
refterms.dateFOA | 2022-01-04T10:49:44Z | |
refterms.panel | C | en_GB |
refterms.dateFirstOnline | 2022-01-03 |
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Except where otherwise noted, this item's licence is described as © The Author(s) 2022. Published by Oxford University Press on behalf of the British Society of Aesthetics. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (https://creativecommons.org/licenses/by/4.0/), which permits unrestricted reuse, distribution, and reproduction in any medium, provided the original work is properly cited.