In this paper, we provide an overview of research highlighting the relation between cultural processes, social norms, and food choices, discussing the implication of these findings for the promotion of more sustainable lifestyles. Our aim is to outline how environmental psychological research on urban affordances, through the specific concepts of restorative environments and walkability, could complement these findings to better understand human health, wellbeing and quality of life. We highlight how social norms and cultural processes are linked to food choices, (...) and we discuss the possible health-related outcomes of cultural differences in food practices, their relation to acculturation and globalization processes. We also discuss the concepts of restorative environments and walkability as positive urban affordances, and their relation to human well being, and the possibile link with cultural process and sustainable lifestyles. Finally, we outline issues for future research and areas for policy making and interventions on the links between cultural processes, healthy and sustainable food consumption and urban affordances, for the pursuit of public health, wellbeing and environmental sustainability. (shrink)

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings were more related to Difficulty (...) ratings than Movement ratings. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built environments. (...) Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

The present work has the aim to understand the role of the emotions in the aesthetical experience. Most modern theories refer to a componential approach to emotion, indicating that an emotional event consists of several components: cognitive appraisal, physiological arousal, expression, action tendency and subjective feeling. This model is applied to the so called utilitarian emotions. Is that possible to adopt the model also to the aesthetic emotions? We will analyze every step of the componential approach trying to compare it (...) with the process underling aesthetic emotion, highlighting similarities and differences. (shrink)

We propose that in pictures both the extended limbs of actors and the ground are involved in gestalts for movement. Limbs extend to suggest more motion literally when a dancer is in air and refer to a canonical pose when on the ground. A running pony’s curled limbs off the ground depict fast action literally. A horse’s flying-gallop off the ground suggests speedy motion metaphorically. Cast shadows indicate the actor’s location with respect to the ground. We consider extended and curled (...) limbs, on-ground and off, in literal and metaphoric pictures. (shrink)