Part way through Stephen Frears’s film, The Queen , the monarch undergoes an extraordinary, magical experience whilstjourneying into the Scottish landscape that surrounds Balmoral, her grandancestral holiday home. Despite the anxious offers from her estate workersto chauffeur her, she drives alone into the mountains and proceeds to breakdown in the centre of a fast flowing river. While awaiting help a strangeevent occurs: a stag appears magically as if from nowhere and, unable tohide her admiration for the beast, the Queen gently (...) utters the words, ‘Oh!You beauty’ before the animal disappears as mysteriously as it arrived.Framed in a painterly way, and providing a marked punctuation to the urbansettings that have dominated the film so far, this short sequence presents aseries of sumptuous landscape images that elicit a spectator response whichis instinctive and intuitive. When analysed using an aesthetic approach – amethodology one might use for the examination of a painting – anemotional relationship is mobilised between the spectator and the film: asentiment not necessarily available through a narrative reading. (shrink)

The scientific worldview is based on laws, which are supposed to be certain, objective, and independent of time and context. The narrative worldview found in literature, myth and religion, is based on stories, which relate the events experienced by a subject in a particular context with an uncertain outcome. This paper argues that the concept of “agent”, supported by the theories of evolution, cybernetics and complex adaptive systems, allows us to reconcile scientific and narrative perspectives. An agent follows a course (...) of action through its environment with the aim of maximizing its fitness. Navigation along that course combines the strategies of regulation, exploitation and exploration, but needs to cope with often-unforeseen diversions. These can be positive (affordances, opportunities), negative (disturbances, dangers) or neutral (surprises). The resulting sequence of encounters and actions can be conceptualized as an adventure. Thus, the agent appears to play the role of the hero in a tale of challenge and mystery that is very similar to the "monomyth", the basic storyline that underlies all myths and fairy tales according to Campbell [1949]. This narrative dynamics is driven forward in particular by the alternation between prospect (the ability to foresee diversions) and mystery (the possibility of achieving an as yet absent prospect), two aspects of the environment that are particularly attractive to agents. This dynamics generalizes the scientific notion of a deterministic trajectory by introducing a variable “horizon of knowability”: the agent is never fully certain of its further course, but can anticipate depending on its degree of prospect. (shrink)

It is well-established that the experience of nature produces an array of positive benefits to mental well-being. Much less is known about the specific attributes of green space which produce these effects. In the absence of translational research that links theory with application, it is challenging to design urban green space for its greatest restorative potential. This translational research provides a method for identifying which specific physical attributes of an environmental setting are most likely to influence preference and restoration responses. (...) Attribute identification was based on a triangulation process invoking environmental psychology and aesthetics theories, principles of design founded in mathematics and aesthetics, and empirical research on the role of specific physical attributes of the environment in preference or restoration responses. From this integration emerged a list of physical attributes defining aspects of spatial structure and environmental content found to be most relevant to the perceptions involved with preference and restoration. The physical attribute list offers a starting point for deciphering which scene stimuli dominate or collaborate in preference and restoration responses. To support this, functional definitions and metrics—efficient methods for attribute quantification are presented. Use of these research products and the process for defining place-based metrics can provide (a) greater control in the selection and interpretation of the scenes/images used in tests of preference and restoration and (b) an expanded evidence base for well-being designers of the built environment. (shrink)

With increased urbanization, ecological challenges such as climate change and loss of biodiversity, and stress-related disorders globally posing a major threat to public health and wellbeing, the development of efficient multiple-use strategies for urban green spaces and infrastructures is of great importance. In addition to benefits such as climate and water regulation, food production, and biodiversity conservation, green spaces and features have been associated with various health and wellbeing outcomes from a psychological perspective. Research suggests links between exposure to green (...) environmental qualities and restoration from psycho-physiological stress and attention fatigue, promotion of physical activity, increased neighborhood satisfaction and even reduced mortality. Especially strong associations have been observed in urban and socio-economically challenged areas. Usually such salutogenic, i.e. health-promoting, effects are explained through theories related to the notion of biophilia, i.e. the idea that humans share innate tendencies to attend to natural environments and features that have been beneficial during evolution. This paper assumes an ecological approach to perception and behavior to be fruitful in order to analyze the salutogenic potential of environments such as urban green spaces and to step beyond the “green vs. gray” dichotomy that has been prevalent through much of the research on health-promoting environments. Through an analysis of environmental affordances for certain perceived qualities such an approach is explored through a proposed concept for urban green space use and management, the edible forest garden. Such gardens, based on agroecological principles, have emerged as one of the most promising models regarding ecologically sustainable food production. In addition to potential contributions of importance for urban sustainability and biodiversity, we argue that the inclusion of edible forest gardens in urban green spaces – today globally dominated by lawns – also potentially could reinforce several affordances of salutogenic importance, both in terms of e.g. social cohesion but also in regard to restoration from psycho-physiological stress and attention fatigue. Increased opportunities for contact with nature and processes of food production may also reinforce pro-environmental behaviors in the population and thus also affect long-term sustainability. (shrink)

Fractal patterns offer one way to represent the rough complexity of the natural world. Whilst they dominate many of our visual experiences in nature, little large-scale perceptual research has been done to explore how we respond aesthetically to these patterns. Previous research (Taylor et al., 2011) suggests that the fractal patterns with mid-range fractal dimensions have universal aesthetic appeal. Perceptual and aesthetic responses to visual complexity have been more varied with findings suggesting both linear (Forsythe et al., 2011) and curvilinear (...) (Berlyne, 1970) relationships. Individual differences have been found to account for many of the differences we see in aesthetic responses but some, such as culture, have received little attention within the fractal and complexity research fields. This 2-study paper aims to test preference responses to fractal dimension and visual complexity, using a large cohort (N=443) of participants from around the world to allow universality claims to be tested. It explores the extent to which age, culture and gender can predict our preferences for fractally complex patterns. Following exploratory analysis that found strong correlations between fractal dimension and visual complexity, a series of linear mixed-effect models were implemented to explore if each of the individual variables could predict preference. The first tested a linear complexity model (likelihood of selecting the more complex image from the pair of images) and the second a mid-range fractal dimension model (likelihood of selecting an image within mid-range). Results show that individual differences can reliably predict preferences for complexity across culture, gender and age. However, in fitting with current findings the mid-range models show greater consistency in preference not mediated by gender, age or culture. This paper supports the established theory that the mid-range fractal patterns appear to be a universal construct underlying preference but also highlights the fragility of universal claims by demonstrating individual differences in preference for the interrelated concept of visual complexity. This highlights a current stalemate in the field of empirical aesthetics. (shrink)