They can facilitate or hinder those expressions.

Those rules are the medium of expression. The expression rules are the proximate influence of the larger culture in configuring how the individual can give social expression to the underlying emotions.

These emotions are, however, invariably mediated through culturally specific expression rules. The influence between self and environment then is bidirectional, though not necessarily always symmetric or equal.Įkman has demonstrated that humans experience a set of basic emotions that are hard-wired and set biologically and are therefore universal. Development unfolds through a process of the infant internalizing moments of self-other interaction, which then form the basis of implicit working models that configure the experience of subsequent interactions. The dyad is seen as having emergent properties that are derived from the contributions of the individuals, but that go beyond them. Winnicott’s phrase “there’s no such thing as a baby” is a pithy summary of the shift to seeing the dyad of infant and caregiver as the phenomenon of interest, study, and care, rather than the infant in isolation. They also echo the traditional discussions of nature versus nurture, that is, the subject finding itself within a particular environment, which becomes, for better or worse, its nurture.Ĭontemporary analytic models emphasize a view of the subject in relation with his or her environment, which initially for humans(due to our utter, and long, dependency at birth) is always another human caregiver. These questions of the relation of the subjective to the objective have parallels in psychoanalytic theories, such as object relations theory, attachment theory, and relational theory, among others. But is beauty really a feature of the object? Is it objective? If we were to say that it resides in features of the object(like symmetry or proportion) it would not necessarily render a discussion of the perception of beauty moot our perceptual apparatuses configure our appreciation of objective features of the external world also. We notice something “out there” which we label as beautiful. Before we can embark on a discussion of aspects of the perception of beauty, we might ask just what we mean by beauty? As is often the case with such exercises, what initially seems self-evident becomes increasingly obscure and difficult to pin down with increased scrutiny.

Aesthetic perception definition