当代文化消费价值的审美认同

文化审美价值的认同取决于审美实践环境的制约性。不受制约,其价值认同向意义范畴无极限化方向发展;受制约,其价值认同则向不断满足现实功用性需求的方向发展。文化消费中的审美功用性价值需求表现为追求最佳审美感觉、最佳经济效益、最佳生活质量。文化消费价值的创造上更注重产品虚拟设计、美化消费环境和创立品牌效应。     

封面女郎:消费社会的审美奇观

在消费社会,封面女郎成为无所不在的审美景观。在自我与他者的双向凝视中,封面女郎建构着观赏主体,也建构着自我。她美丽动人但刻板单一,诉说着关于美和美的标准的霸权;她是商业操作的产物,带着刺激消费的假面;她是消费时代的仿像,是带着面具的怪诞。认清封面女郎的本质,我们才能在消费时代看到在美的名义下,"她"追求形式的单调枯燥,没有灵魂的空虚,缺乏内涵的平淡和重商逐利的庸俗。在视觉刺激日益肆虐的当今社会,我们只有提高审美品位,塑造健康的审美人格,追求高尚的审美文化,才能得到真正的审美愉悦。     

时尚的美学分析

时尚产生于各社会阶层具有流动性的社会中。上层社会为维护社会地位和高尚品位而创造并引领时尚,这种时尚趋势逐渐向下层社会渗透并传播的过程构成了时尚的生成机制。时尚的生成是大众审美权利拓展的表现,而时尚的传播则促成了审美趣味的变更,时尚的生成与传播让更多的人享受并体验到时尚美。当前的时尚消费表现出了审美化的倾向,时尚消费是审美化消费的具体体现。     

消费语境下乡村文化的范式建构与审美逻辑

消费时代的到来颠覆了传统乡村文化的既定形态,使得传统的乡村文化发生了一定程度的"消费化"转向。文化表征的"非中心化"、大众媒介的主流化、乡村现代闲暇文化的生成以及文化引领与现实文化形态的相对脱节都是消费语境介入乡村文化发展机制的审美表征。乡村文化的"消费化"不仅催生了乡村文化的"现代性",同时对当下的文化建设也带来更为深入的审美思考。     

“泛审美”时代下美术馆的展陈审美趋向

审美活动随着时代发展展现出不同形态,消费文化的影响、读图时代的来临使得审美迅速地融入到大众文化之中,而审美意识的倾入与普及形成了当下审美的泛化现象,而美术馆作为面对大众的不可或缺的审美活动场所发挥着积极的审美引导与文化传播价值作用。     

城市审美文化研究的若干问题

伴随着中国加快城市化的进程和进入消费社会,城市审美文化应当成为当代审美文化研究的一个新兴的重点领域;城市审美文化研究有着自身的独特视域和文化形态,并且贵在形成独特的文化特色;城市审美文化建设与城市的精神文明建设有着内在的紧密关联,应当发挥其对市民特别是青少年的陶冶引领作用;城市审美文化研究以彰显城市的文化个性,提升城市的文化竞争力为旨归.     

当代大学生审美文化调查分析及对策研究——以江苏省大学生为例

随着消费社会的来临,日常生活审美化的扩张,美学研究在纯美学之外开辟了一个关于大众审美的新领域,即狭义的现代语境中的"审美文化".审美文化往往没有传统美学中严格的哲学思考和神性追求,它满足于人们日常的审美需求.这也就决定了"审美文化"成为一个动态的概念,对其理解需因时因地因人而异.而当代大学生的审美文化则是在当代语境下的大学生群体所呈现的独特的审美文化.     

现代婚礼标志设计的创新性研究

现代婚礼标志设计普遍表现的很程式化,呈现出千篇一律的机械复制与简单形式的婚礼标志,由标志代办,单调,无创新多构成的VI视觉系统,就起原因,是现代消费语境下婚礼标志视觉设计中消费对主体审美的控制所致。     

“日常生活审美化”中的电影服饰审美

伴随着大众文化与消费文化的兴起,针对"日常生活审美化"问题的探讨炙手可热。这其中,电影服饰审美涉及了艺术与生活的两个维度,恰恰成为了其范畴中最为典型的代表。它不仅隶属于电影美术,具有电影艺术的特征,而且通过观众的审美再创造,日常生活审美化,完美诠释了审美与生活之间的秘密构建。     

谈室内设计中的审美文化转变

在当代生活世界与文化语境中,由于城市规模的扩大、消费时代的来临和技术的发展等原因,促使当代室内设计审美文化发生了较大转变。对室内设计中的审美文化转变原因的分析,有助于设计师把握时代的发展规律,创造出为大众所喜欢的生活环境,同时也给当代室内设计发展以及审美文化研究提供新的启示。     

The Critical Aesthetics of Disney World

ABSTRACT An analysis of Disney World as an aesthetic environment provides important insights. I ts many distinct areas constitute a multiplicity of environments —futuristic, ethnic, fantasy, adventure. Each shapes time, space, and movement in distinctive ways, making Disney World a microcosm of America's cultural pluralism and at the same time the kitsch of postmodernism. Yet Disney World is more than an entertainment park but conceals disturbing meanings behind its glittering images. In numerous ways it both illustrates and epitomises kinds of thought and practice that characterise the industrial-commercial culture of our period. Disney World, in fact, openly but subtly purveys the culture of consumption. Everything is converted into matter for consumption: national and ethnic traditions, science, technology, education, the family, history. This is an environment in which nothing is as it appears to be. Spectacular in scale and brilliant in execution, Disney World is a 'masterpiece of falsification, a megamonument to the commodification of culture.' The aesthetic analysis of Disney's worlds, by showing how realities are created and subverted, confronts us with the pervasiveness of the normative and the inseparability of the moral and the aesthetic. The challenge of our time is to reform knowledge and value in a way that is pluralistic and open-ended, and yet provides the basis for both decision and action.     

神经美学视角的审美愉悦加工机制

审美对象特有的刺激属性会唤起观赏者特定的情绪或情感反应。个体在欣赏自然、艺术品和其他人类作品时会产生审美愉悦体验。审美愉悦-兴趣模型(PIA)认为, 审美愉悦体验包含审美过程中自动化加工阶段的审美愉悦和控制加工阶段的审美兴趣。近年来, 神经美学研究表明, 负责愉悦和奖赏的眶额叶皮层在审美过程中广泛激活, 是自动化加工阶段初级审美愉悦奖赏的神经基础, 而审美过程中纹状体亚回路中不同的连接和功能作用与两个阶段中审美愉悦的产生都有关联; 上述结果支持了审美愉悦-兴趣模型。但审美高峰体验时默认模式网络(DMN)相关脑区的激活和负责控制与理性思维的外侧前额叶皮层等脑区的失活, 提示在PIA模型强调的自动化加工阶段审美愉悦和控制加工阶段审美兴趣之上, 还有整合升华阶段的审美沉浸愉悦, PIA模型需得到进一步的扩展。未来研究应进一步检验审美愉悦认知加工模型及神经机制, 探索审美对创造力的影响机制和神经基础, 探讨不同审美经验愉悦机制的异同。     

Aesthetic activities and aesthetic attitudes: Influences of education,background and personality on interest and involvement in the arts

There have been few studies of why some people are frequently involved in aesthetic activities such as going to the theatre, reading or playing musical instruments, whereas others are less involved. This study assesses the broad roles of education, personality and demographic factors such as social class, age and sex. More aesthetic activity was associated with music and art education, whereas science education had a substantial negative relationship with aesthetic activity, both directly and also indirectly via reduced art education. More aesthetic activity was particularly related to higher scores on the personality factor of openness, and also to lower scores on agreeableness and conscientiousness. Higher parental social class was also associated with more aesthetic activity, as also was lower age. Sex had no relationship to aesthetic activity, as neither did masculinity?femininity. Positive aesthetic attitudes were also related moderately to aesthetic activity, but were particularly strongly related to openness to experience, and somewhat less to extraversion. Class, age and sex had no direct relationship to aesthetic attitudes.     

不同类型美感体验的自主反应特点

不同美感体验类型有何特异的生理反应？美感的生理反应是否类似于积极情绪？本研究以音乐和图片两类材料为刺激,以心率、皮肤电为生理反应指标,测量了不同审美状态下的自主生理反应情况。结果发现：不论是听觉还是视觉通道,优美、壮美、悲剧、喜剧4种审美风格的刺激都使被试心率和皮肤电下降;不同的美感形态所引起的反应不同,喜剧和壮美风格刺激诱发的自主生理反应变化相对于其他两种风格显得更明显,喜剧风格效果尤为突出;不同美感体验类型特异生理反应具有跨通道的一致性;四种美感体验类型的生理反应都不同于消极情绪,而类似积极情绪,从生理反应视角证明了美感体验递属于积极情绪。     

《老子》美学意蕴的现象学解读

借助现象学存在论阐释，《老子》的美学意蕴展现为：“观”的审美态度，“有无相生”的生存体验，以语言悖论为特征的美学话语。它们奠定了中国美学尤其道家美学的基本形态。     

Integrating the philosophy and psychology of aesthetic experience: development of the aesthetic experience scale

This study assessed the dynamic relationship between person and object in aesthetic experience. Patterns of the structure of aesthetic experience were derived from a conceptual model based on philosophical and psychological ideas. These patterns were further informed by interviewing individuals with extensive involvement in aesthetic activities and 25 secondary students. Accordingly, patterns were tested by developing a large pool of items attempting to identify measurable structural components of aesthetic experience. Refined first in a pilot study, the 36-item questionnaire was administered to 652 Greek students, aged from 13 to 15 years. Correlation matrices and exploratory factor analyses on principal components were used to examine internal structural relationships. The obliquely rotated five-factor solution of the refined instrument accounted for the 44.1% of the total variance and was combatible with the conceptual model of aesthetic experience, indicating the plausibility of both. The internal consistency of the items was adequate and external correlational analysis offered preliminary support for subsequent development of a self-report measure that serves to operationalize the major constructs of aesthetic experience in the general adolescent population. The results also raise theoretical issues for those interested in empirical aesthetics, suggesting that in experiential functioning, expressive perception and affect may play a more constructive role in cognitive processes than is generally acknowledged.     

Li Zehou and Moritz Schlick on the Roots of Beauty

Beginning from the Enlightenment view that beauty or art is ＂useless,＂ the attempts to explain how aesthetic experience and judgment are possible presented by Moritz Schlick and Li Zehou are examined, compared and contrasted. The paper treats three main subjects, the anthropological origins of beauty, the origins of aesthetic judgments and the problem of the purpose or function of beauty or aesthetic experience. In the first--the historical-causal roots of beauty--the problem discussed is how to account for aesthetics in light of the practical needs and pursuits of human beings. For Schlick, the problem is couched in terms of how aesthetic experience can be made consistent with natural selection. The second main subject-the philosophical roots of beauty-is a discussion of the origin in the sense of justification of aesthetic judgments. And the third examines the problem of assigning some purpose to aesthetic feelings and attitudes. An apparent contrast is made, and perhaps resolved, between the respective views of Schlick and Li.     

Dynamics of the knowledge instinct: Effects of incoherence on the cognitive system

We successfully replicated a study about aesthetic emotions in a different socio-cultural environment. The present results suggest that incoherence is a strong inhibitor for aesthetic chills and verify a positive correlation between pleasure and meaning. These results allow for a scientific study of aesthetic emotions as it is now possible for the experimenter to have two groups of subjects, both exposed to the same stimulation, one group experiencing measurable aesthetic emotions whereas the other does not. We review the literature on the problem of both positive and negative psychogenic shivering and relate this phenomenon to the instinct of knowledge. We discuss the implications of our findings, stress the importance of studying the psychological and physiological effects of incoherence on the central nervous system, introduce a series of hypotheses to be tested in further research and conclude with a plausible explanation for the relation between temperature and cognition in humans.     

Beauty,the social network1

Aesthetic values give agents reasons to perform not only acts of contemplation, but also acts like editing, collecting, and conserving. Moreover, aesthetic agents rarely operate solo: they conduct their business as integral members of networks of other aesthetic agents. The consensus theory of aesthetic value, namely that an item’s aesthetic value is its power to evoke a finally valuable experience in a suitable spectator, can explain neither the range of acts performed by aesthetic agents nor the social contexts in which they operate. This paper proposes a new theory of aesthetic value specifically to explain facts about the sociality of aesthetic agents.     

Unmasking the Truth Beneath the Beauty: Why the Supposed Aesthetic Judgements Made in Science May Not Be Aesthetic at All

In this article I examine the status of putative aesthetic judgements in science and mathematics. I argue that if the judgements at issue are taken to be genuinely aesthetic they can be divided into two types, positing either a disjunction or connection between aesthetic and epistemic criteria in theory/proof assessment. I show that both types of claim face serious difficulties in explaining the purported role of aesthetic judgements in these areas. I claim that the best current explanation of this role, McAllister's ‘aesthetic induction’ model, fails to demonstrate that the judgements at issue are genuinely aesthetic. I argue that, in light of these considerations, there are strong reasons for suspecting that many, and perhaps all, of the supposedly aesthetic claims are not genuinely aesthetic but are in fact ‘masked’ epistemic assessments.