The phrase "aesthetic stimulus" is correct and usable in written English.
It can be used in contexts discussing art, design, or sensory experiences that evoke a response based on beauty or visual appeal.
Example: "The gallery's latest exhibition offers a rich aesthetic stimulus that captivates visitors and encourages deeper reflection on the nature of beauty."
Alternatives: "visual inspiration" or "artistic trigger".
Color is an aesthetic stimulus widely used in marketing (i.e., advertisement, logo, brand personality, package, and atmospherics) to grab consumers' attention, enhance purchase intention, and increase perceived service quality (Labrecque et al. 2013; Puccinelli et al. 2013).
The very fact that we are aroused by or attracted to some aspect of the Uncanny is due to the faint glimmer of the desire being repressed, and desire is a response to an aesthetic stimulus, however much the stimulus is attached as well to the sexual drives.
This behavioral definition attributes reward function also to certain nonalimentary and nonsexual entities, including money, technical artefacts, aesthetic stimulus attributes and mental events.
Thus, an aesthetic stimulus is beautiful if it engages the receiver within its own artworld through a positive, coevolved aesthetic experience.
The results indicate: (1) consumers' cognitive, affective, and conative outcomes can be significantly evoked by aesthetic stimuli; (2) the two dimensions of web aesthetics exhibit dissimilar patterns of influences; and (3) purchase task significantly moderates consumers' responses in terms of magnitude and direction.
He was pulling aesthetic stimuli from everywhere: childhood nature books, Japanese prints, Chinese scrolls, Arthur Rackham's Wagner illustrations, Léon Bakst's sets for the Ballets Russes, and painting by Romantic artists like William Blake and, surely, Samuel Palmer.
In particular, we do not exhibit empathy with simple aesthetic stimuli, as we do with complex, whole artworks.
To run studies of quantified responses to controlled and isolated aesthetic stimuli, where emergent patterns of preference, response, and judgment are recorded within a given population's sample, is to pass by the true character of the aesthetic issue the actual puzzlement, such as we feel it, will be conceptual, not empirical.
Musical emotions are unique from other emotions in that they are based on aesthetic stimuli, and unlike other basic emotions do not have an obvious adaptive or survival value [48].
Similar aesthetic stimuli have coevolved distinctly opposite aesthetic properties in independent artworlds.
Such purposefully repellent aesthetic stimuli inspire aversion in evaluators the desire to disengage with, and avoid the stimulus.
