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Jussi A. Saarinen [8]Jussi Antti Saarinen [2]
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Jussi A. Saarinen
University of Jyväskylä
  1.  41
    Affect in Artistic Creativity: Painting to Feel.Jussi A. Saarinen - 2020 - Lontoo, Yhdistynyt kuningaskunta: Routledge.
    Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. -/- Painters paint to feel. -/- They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the (...)
  2.  33
    Paintings as Solid Affective Scaffolds.Jussi Antti Saarinen - 2019 - Journal of Aesthetics and Art Criticism 77 (1):67-77.
    We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two-way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I will argue that under certain conditions paintings function as noteworthy affective scaffolds to their creators. To expound this idea, I will begin with a (...)
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  3. How Museums Make Us Feel: Affective Niche Construction and the Museum of Non-Objective Painting.Jussi A. Saarinen - 2021 - British Journal of Aesthetics 61 (4):543-558.
    Art museums are built to elicit a wide variety of feelings, emotions, and moods from their visitors. While these effects are primarily achieved through the artworks on display, museums commonly deploy numerous other affect-inducing resources as well, including architectural solutions, audio guides, lighting fixtures, and informational texts. Art museums can thus be regarded as spaces that are designed to influence affective experiencing through multiple structures and mechanisms. At face value, this may seem like a somewhat self-evident and trivial statement to (...)
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  4.  73
    A critical examination of existential feeling.Jussi A. Saarinen - 2018 - Phenomenology and the Cognitive Sciences 17 (2):363-374.
    Matthew Ratcliffe has argued that existential feelings form a distinct class of bodily and non-conceptual feelings that pre-intentionally structure our intentional experience of others, the world, and ourselves. In this article, I will identify and discuss three interrelated areas of concern for Ratcliffe’s theory of existential feelings. First, the distinct senses in which existential feelings are felt as background bodily feelings and as spaces of possibility calls for further clarification. Second, the nature of the suggested bi-directional relationship between existential feelings (...)
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  5. Extending Existential Feeling Through Sensory Substitution.Jussi A. Saarinen - 2023 - Synthese 201 (2):1-24.
    In current philosophy of mind, there is lively debate over whether emotions, moods, and other affects can extend to comprise elements beyond one’s organismic boundaries. At the same time, there has been growing interest in the nature and significance of so-called existential feelings, which, as the term suggests, are feelings of one’s overall being in the world. In this article, I bring these two strands of investigation together to ask: Can the material underpinnings of existential feelings extend beyond one’s skull (...)
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  6.  22
    Making Space for Creativity: Niche Construction and the Artist’s Studio.Jussi A. Saarinen & Joel Krueger - 2022 - Journal of Aesthetics and Art Criticism 80 (3):322–332.
    It is increasingly acknowledged that creativity cannot be fully understood without considering the setting where it takes place. Building on this premise, we use the concepts of niche construction, scaffolding, coupling, and functional integration to expound on the environmentally situated nature of painters’ studio work. Our analysis shows studios to be multi-resource niches that are customized by artists to support various capacities, states, and actions crucial to painting. When at work in these personalized spaces, painters do not need to rely (...)
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  7.  19
    A conceptual analysis of the oceanic feeling : with a special note on painterly aesthetics.Jussi A. Saarinen - unknown
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  8.  27
    The Concept of the Oceanic Feeling in Artistic Creativity and in the Analysis of Visual Artworks.Jussi Antti Saarinen - 2015 - Journal of Aesthetic Education 49 (3):15-31.
    In a recent study on artistic creativity, artists from several fields were interviewed regarding their subjective experiences of the creative process.1 In addition to various psychological and behavioral phenomena, the artists reported feelings of connectedness with something beyond themselves, of dissolution of personal boundaries, of absorption in the artwork, and of timelessness, awe, and joy. For the past half-century, psychoanalytical writers on art have used the concept “oceanic feeling” to designate similar experiences of oneness, limitlessness, and elation in creativity. Despite (...)
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  9.  3
    Packing Heat: On the Affective Incorporation of Firearms.Jussi A. Saarinen - forthcoming - Topoi:1-11.
    For countless citizens in the United States, guns are objects of personal attachment that provide strong feelings of power and security. I argue that a key reason for such tight affective bonds is that, under certain conditions, guns become integrated into their owners’ embodied experience. To flesh out this view, I explain (a) how firearms, as material artifacts, can become a part of the feeling body and (b) how this integration impacts one’s experience of self, others, and the world. I (...)
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  10.  34
    Social Aesthetics and Moral Judgment: Pleasure, Reflection and Accountability. [REVIEW]Jussi A. Saarinen - 2019 - Australasian Journal of Philosophy 97 (4):844-845.
    Volume 97, Issue 4, December 2019, Page 844-845.
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