Age, Biography and Wiki
Vladimir J. Konečni was born on 27 October, 1944 in Belgrade, Yugoslavia (now Serbia). Discover Vladimir J. Konečni's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 79 years old?
|Age||79 years old|
|Born||27 October 1944|
|Birthplace||Belgrade, Yugoslavia (now Serbia)|
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Vladimir J. Konečni Height, Weight & Measurements
At 79 years old, Vladimir J. Konečni height not available right now. We will update Vladimir J. Konečni's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
|Body Measurements||Not Available|
|Eye Color||Not Available|
|Hair Color||Not Available|
Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
Vladimir J. Konečni Net Worth
His net worth has been growing significantly in 2022-2023. So, how much is Vladimir J. Konečni worth at the age of 79 years old? Vladimir J. Konečni’s income source is mostly from being a successful . He is from Serbia. We have estimated Vladimir J. Konečni's net worth , money, salary, income, and assets.
|Net Worth in 2023||$1 Million - $5 Million|
|Salary in 2023||Under Review|
|Net Worth in 2022||Pending|
|Salary in 2022||Under Review|
|Source of Income|
Vladimir J. Konečni Social Network
Various problems in the area of visual art have been frequently and to this day investigated by Konečni. There have been articles, inspired by MAE, on the interactive effects of visual art and music on emotion and mood, culminating recently (2010, 2015) in two theoretical articles. In addition, he is one of very few psychoaestheticians who has been able to study the creative process in vivo – in his experimental study of portraiture. Konečni has also written about the politics and social ecology of architecture – specifically in Stalin's Soviet Union and Hitler's Germany – and he has recently addressed the aesthetic and social issues regarding new museums, public sculptures, and parks in China, Serbia, and Japan.
This issue is one in which philosophical aesthetics and psycho-aesthetics are intertwined – in general and in Konečni's extensive work in the past decade. In 2005, he published a theoretical article outlining his "aesthetic trinity theory" (ATT), in which "trinity" refers to a tripartite hierarchical organization of peak aesthetic responses consisting of: (a) physiological thrills (or chills), the most frequent and transient response, and the least pronounced, yet the object of most experimental work; (b) the state of "being moved", considered to be intermediate in depth and duration (the linguistic representation and conceptual structure of this state have recently been empirically investigated by Kuehnast et al., 2014); and (c) aesthetic awe, conceptualized as the peak aesthetic response, exceedingly rare and memorable, and similar to the fundamental emotions in terms of physiological fluctuation, but, unlike them, characterized by existential safety, controllability of danger, and the ease with which it can be "switched off". In ATT, aesthetic awe is viewed as the prototypical response to the "sublime stimulus-in-context" that is external to the perceiver (unlike some positions in philosophy), defined independently of aesthetic awe, and characterized by physical grandeur, great rarity, extraordinary beauty, and novelty, among other criteria). Many aspects of ATT are testable and the results would speak to both philosophical and psychological aestheticians.
Konečni has been very active in this area since about 2002. There have been reports of laboratory experiments, extensive theoretical articles in psychology and philosophy journals, and detailed reviews of important books in music-psychology and philosophical-aesthetics journals. Konečni has taken a strong and elaborate – albeit minority – stance against what he regards is an avalanche of insufficiently substantiated claims regarding the relationship between music and emotion, and specifically against the thesis that music causes emotion. In a recent book review, he wrote: "The authors never clearly state something very simple and almost certainly true: some music may, sometimes, in some people, under some circumstances, elicit some psychobiological emotions, but never nearly as powerful as the correspondent emotions in social life." Konečni has based this view on a careful examination of the literature in both music psychology and philosophical aesthetics; on the Prototypical Emotion-Episode Model (PEEM, which he had developed over many years); on his own experimental findings and theoretical work regarding music and emotion; and on what he perceives as widespread neglect of definitional precision and sound methodology in this multidisciplinary field, including in numerous highly cited research articles.
For about ten years (1995–2005), Konečni did a great deal of experimental and theoretical work on the "golden ratio" (or "golden section"). He has repeatedly emphasized the need for distinguishing among the numerous facets of this classical problem in aesthetics and art: Objects in nature vs. objects in art and architecture; the known presence vs. absence of artist's intention in utilizing the ratio; the degree of perceivers' awareness of the ratio in an object and the influence of that awareness, if any, on the object's aesthetic appeal. In his work on paintings, Konečni used many different measures, including the dimensions of the rectangle (frame); the vertical and horizontal bisections of a painting; and the dimensions of significant depicted objects within the painting. He considered the analysis of this variety of measures indispensable and developed several methodological innovations, as well as refinements of the classical Fechnerian ones. Konečni has described the golden ratio as "elusive but detectable", and more likely to influence the results of carefully conducted experiments as part of higher-order interactions than as a main effect; its "contextuality and configurality" make it, he has suggested, comparable to concepts in Zen aesthetics.
In 1984, Konečni published an article with five experiments on the "elusive effects of artists' 'messages,'" in which "messages" were defined broadly to include, in the two experiments devoted to music, the macrostructure of the pieces, such as the original ordering of the movements in Beethoven's piano sonatas and string quartets. Surprisingly, and contrary to strongly held musicological conventions, even drastic reordering of the movements produced negligible decrements in listeners' enjoyment. Follow-up experiments produced analogous results; a variety of highly esteemed and diverse music pieces were used as research stimuli in this work, including J. S. Bach's Goldberg Variations (diverse ordering of the variations) and Mozart's Symphony in G minor, K. 550 (reordering of the key structural parts of the first movement). These and related experiments were further discussed by Konečni and Karno in 1994, at which time they also summarized the previous debate with musicologists Robert Batt and Nicholas Cook about this research.
In 1982, Konečni and Ebbesen edited a book (dedicated to Egon Brunswik and Kurt Lewin), The Criminal Justice System: A Social-Psychological Analysis, to which they contributed five chapters that outlined their theoretical and methodological viewpoint and addressed several major empirical issues.
Throughout his career, Vladimir Konečni has conducted numerous experiments in diverse areas of empirical aesthetics – a field dominated by scientifically oriented psychologists and thus often referred to as psychological or (psycho-) aesthetics (distinct from "aesthetics", which usually refers to philosophical aesthetics). In his first article (1976) in psycho-aesthetics, Konečni, influenced by Daniel Berlyne (one of his graduate-school mentors), successfully combined work on physiological arousal with his own prior work on the "cathartic effect" to study music preference (as a dependent variable). A broad and innovative empirical approach to the study of emotional, mood, and personality antecedents of aesthetic preference and choice in both visual art and music resulted in a number of publications with several American and European graduate students and in various languages. Konečni also wrote two widely cited theoretical articles that addressed (a) the social, emotional, and cognitive determinants of aesthetic preference and (b) the measurable psychological consequences of exposure to aesthetic stimuli, resulting in his formulation of the "Model of Aesthetic Episode" (MAE), which he continued to refine over many years.
One of its major features has been the comparison of data from experimental simulations to those obtained from archival records and court hearings, often involving the same participants or the same classes of participants (even Superior Court judges participated in the simulations). After their much-cited first article, in 1975, comparing judges' bail-setting decisions in a simulation to those they made in the courtroom, Ebbesen and Konečni published a number of critical methodological articles on the key issue of external validity at many points in the existing research on the legal process, with special reference to jury simulations. This led both to resistance and critiques of the resistance.
In the period after 1973, he was at various times a Visiting Professor at a number of renowned universities outside the United States, including the London School of Economics, Sydney University, Hebrew University Jerusalem, University of Cape Town, Universiteit van Amsterdam, and Freie Universität Berlin. In the course of his career so far, Konečni has given colloquia on his research at some 150 universities on all continents.
From 1973 to 2011 (the year of Emeritus Professor Ebbe B. Ebbesen's passing), Ebbesen and Konečni worked on judicial decision-making in the criminal justice system. Using quantitative methods, they studied how various participants in the system – judges, prosecutors, defense attorneys, police officers, perpetrators, and others – combine the information available to them into decisions that then become information items for other decision-makers in the system.
In the period 1972 to 1984, Konečni carried out, in parallel, field experiments on altruistic behavior, and laboratory and field studies on human physical and verbal aggression.
In 1970, he began graduate studies in experimental and social psychology at the University of Toronto, Canada, receiving an M.A. degree in 1971 and a Ph.D. in 1973. The title of his dissertation was "Experimental Studies of Human Aggression: The Cathartic Effect." Also in 1973, Konečni was appointed Assistant Professor and thus began his 35-year-long uninterrupted association with the Department of Psychology at the University of California, San Diego (Associate Professor in 1978; Professor in 1982; Emeritus Professor in 2008).
Konečni received his Bachelor of Arts degree in experimental and clinical psychology, and philosophy, from the University of Belgrade in 1969; as an undergraduate, he published three refereed articles.
Vladimir J. Konečni (born October 27, 1944) is an American and Serbian psychologist, aesthetician, poet, dramatist, fiction writer, and art photographer, currently an Emeritus Professor of Psychology at the University of California, San Diego.
This new, 21st century, area of research has been considered a branch of empirical aesthetics. Konečni has described its main characteristics, and has critically analyzed some of the claims made by several prominent practitioners, arguing that these claims are exaggerated.