美术专业与普通专业学生对中西方绘画作品的审美认知差异

审美认知是人类最高级最复杂的心理活动之一,在美育中具有重要的作用。本研究采用不同艺术类别及情绪效价的作品图片,考察美术专业与普通专业大学生对中西方绘画作品的审美认知差异。结果发现：美术专业学生与普通学生对西方画的审美认知差异极其显著,且美术专业学生对西方画产生的美感显著强于普通学生;而两类学生对中国画的审美认知差异并不显著;对于不同风格的绘画作品,两类学生都存在着审美偏好,且审美偏好一致,都对中国画产生的美感更为强烈;两类学生的审美认知反应时间差异极其显著,专业学生总体上要比普通学生进行更多更复杂的审美认知加工活动。研究表明,审美认知具有较强的可塑性,对于美育心理学的发展具有重要的价值。     

Architecture and Embodied Free Play

This article argues that architecture makes possible a unique form of aesthetic experience, one involving what I will call, departing from a Kantian perspective, embodied free play. I argue that architecture's purpose is to encourage, cultivate, and enable human activities while also becoming crystallizations of those very activities. I will show that the living system of such interaction is called “place,” as I explore the role of artifacts, movement, activities, and the environment in place creation. I show that when the embodied activities and design of a place harmonize, a fullness of free play is made possible and daily living can involve aesthetic experience.     

LITERATURE, KNOWLEDGE, AND THE AESTHETIC ATTITUDE

An attitude which hopes to derive aesthetic pleasure from an object is often thought to be in tension with an attitude which hopes to derive knowledge from it. The current article argues that this alleged conflict only makes sense when the aesthetic attitude and knowledge are construed unnaturally narrowly, and that when both are correctly understood there is no tension between them. To do this, the article first proposes a broad and satisfying account of the aesthetic attitude, and then considers and rejects twelve reasons for thinking that deriving knowledge from something is incompatible with maintaining an aesthetic attitude towards it. Two main conclusions are drawn. 1) That the representational arts are often in a good position to communicate non-propositional knowledge about human beings. 2) That while our desire to obtain pleasure from a work's manifest properties, and our desire to obtain knowledge from it, are not the same motive, the formal similarities between them are sufficiently impressive to warrant both being seen as elements of the aesthetic attitude.     

Suffering, meaning, and bioethics.

Suffering evokes moral and metaphysical reflection, the bioethics of suffering concerns the proper ethos of living with suffering. Because empirical and philosophical explorations of suffering are imprisoned in the world of immanent experience, they cannot reach to a transcendent meaning. Even if religious and other narratives concerning the meaning of suffering have no transcendent import, they can have aesthetic and moral significance. This understanding of narratives of suffering and of their custodians has substantial ecumenical implications: chaplains can function as general custodians of narratives and sustainers of a generic religious meaning. This understanding is contrary to traditional Christianity, which discloses a transcendent significance of human suffering found in a very particular history involving particular persons: Christ as the second Adam through the submission of the second Eve has taken on our nature so that we can be united with God. Human suffering is tied to human sin, not simply as a punishment for sin, much less as an opportunity to discharge a supposed temporal punishment due to sin. Human suffering is the result of our rebellious free choices. It provides an opportunity for humility and submission, so that, united to the cross of Christ, sin can be forgiven and suffering set aside in the Resurrection. Knowledge of this framing context for all human suffering is accessible not through rational argument. It is a knowledge garnered through repentance, purification of the heart, illumination by God's grace, and unification with God. Christian bioethics is embedded in the narrative of suffering, which is part of the history of salvation and which encompasses and places all of medicine in its terms.     

Millennium as Opportunity: Chaos,Creativity, and Guilford's Structure of Intellect Model

In this new millennium, our prospects for creative change may be particularly fluid. Chaos theory is used metaphorically to address aspects of creative process we therefore might note well, linking these both with (a) the operations, products, and contents dimensions of J. P. Guilford's structure of intellect (SI) model and (b) healthier balances we can create between Guilford's divergent and convergent production, both within individuals and cultures. Divergent production, a key operation in Guilford's model, may be viewed both as the major departure it was half a century ago and via the dramatic emergences we see today using a nonlinear dynamic of creativity. The intersection of divergent production with Guilford's products dimension might be linked to multiple creative processes we can ponder metaphorically as strange attractors, and attractor complexes, in a dynamic phase space of mind. Such attractors might trap as well as free us, however, and potential examples are given involving abstraction, unconscious processes, and socially restrictive models of normalcy. Next, Guilford's diverse content areas remind us of aspects of our-indeed, dynamically connected-experience as human beings that may be artificially disconnected and underemphasized in traditional education. All divergent processing operates within a larger context, and its tension with convergent processes contains potential for creative leaps and bifurcations, discussed at both the social and individual levels. Preliminary data on aesthetic preference suggest creative people also may seek challenges and chaotic attractors of higher "dimensionality"; this may help drive the process. Finally, a societal shift toward greater creative openness and growth is recommended, based on advantages for physical and psychological health, and clues to paths that nature finds adaptive. Chaos theory gives us models and metaphors based on an ever more rapid, sensitive, and holistic nonlinear creative process; this can honor one's mental history and complex preconditions while responding instantly to information as subtle as a puff of air. Now, when global change is needed badly, we can use this potential malleability to evolve together toward a healthier future.     

The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century

Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the most important thing for human beings is how to make their own lives and existence beautiful. Therefore, it puts forward some persuasive and valuable insights into beauty and art, thus playing an independent and constructive role in intercultural aesthetic dialogues of the twenty-first century. Translated from Journal of Xiaogan College, 2004:5     

Art,Ethics, and Critical Pluralism

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic‐ethical value relation.     

Aesthetic Concepts,Perceptual Learning,and Linguistic Enculturation: Considerations from Wittgenstein,Language, and Music

Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein’s rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that’s often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what’s involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it’s within a socio-linguistic community, and that community’s practices, that such aesthetic sense can be made intelligible.     

Learning to like it: Aesthetic perception of bodies,movements and choreographic structure

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical (ABCDCBA) and asymmetrical (ABCDBCA) sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure.     

论易儒道交融的中国古代和谐美思想

中国古代美学属于古典主义美学,在美的形态上主张和谐美。这同儒道两家的哲学思想、伦理思想和美学思想的互相离异和互相吸收密切相关。从儒家早期的经典文本《周易》和先秦儒家各大流派的相关论述中可以看到,儒家偏重人的哲学,突出人的主动性,着眼于人对社会的认识,强调善与美的统一。而从老子到庄子的道家学派代表人物的相关言论中则可以看出,道家则偏重于自然哲学,突出自然的合规律性,着眼于人对自然的认识,强调真与美的统一。儒道两家各有偏重又相互补充,相反相成地融合为共同的和谐美的思想。     

Psychoanalysis as a creative shaping process2

The author first explains the concepts of creativity, play and aesthetic experience. He then outlines the psychoanalytic process as a creative one that shapes reality. Making a link between psychoanalysis and the humanities, he demonstrates that creative play is a fundamental aspect of the human experience of reality. Aesthetic experiences during the psychoanalytic process are comparable to the play by which children structure their world and artists' activity in following their urge to shape. Furthermore it is shown that creative actualisation testifies to a quasi‐biological need for coherence and structure. Through modern hermeneutics, the truth claims of aesthetic shaping can be established in epistemological terms. The basic principles of hermeneutics‐historicity, linguisticity and communicative experience‐find their psychoanalytic counterparts in memory, representational shaping and transference‐countertransference. Psychoanalysis is demonstrated to be simultaneously a science and an art. On the basis of a case history, aesthetic experience is shown to constitute a specific and unique form of access to psychic reality. Aesthetic experience and creativity do not only aid recovery from ‘bad psychological states’, they are also indispensable for the entire understanding of internal and external reality. It is possible to develop this understanding through a creative psychoanalytic attitude.     

Free Will,Determinism, and the Possibility of Doing Otherwise

I argue that free will and determinism are compatible, even when we take free will to require the ability to do otherwise and even when we interpret that ability modally, as the possibility of doing otherwise, and not just conditionally or dispositionally. My argument draws on a distinction between physical and agential possibility. Although in a deterministic world only one future sequence of events is physically possible for each state of the world, the more coarsely defined state of an agent and his or her environment can be consistent with more than one such sequence, and thus different actions can be “agentially possible”. The agential perspective is supported by our best theories of human behaviour, and so we should take it at face value when we refer to what an agent can and cannot do. On the picture I defend, free will is not a physical phenomenon, but a higher‐level one on a par with other higher‐level phenomena such as agency and intentionality.     

Aesthetic Experts,Guides to Value

A theory of aesthetic value should explain the performance of aesthetic experts, for aesthetic experts are agents who track aesthetic value. Aesthetic empiricism, the theory that an item's aesthetic value is its power to yield aesthetic pleasure, suggests that aesthetic experts are best at locating aesthetic pleasure, especially given aesthetic internalism, the view that aesthetic reasons always have motivating force. Problems with empiricism and internalism open the door to an alternative. Aesthetic experts perform a range of actions not aimed at pleasure. Yet their reasons for acting are aesthetic. Since aesthetic values figure in aesthetic reasons, we can read a nonempiricist theory of aesthetic value off aesthetic experts’ reasons for acting.     

Aesthetic,Ethical, and Cognitive Value

Abstract

This paper addresses two recent debates in aesthetics: the ‘moralist debate’, concerning the relationship between the ethical and aesthetic evaluations of artworks, and the ‘cognitivist debate’, concerning the relationship between the cognitive and aesthetic evaluations of artworks. Although the two debates appear to concern quite different issues, I argue that the various positions in each are marked by the same types of confusions and ambiguities. In particular, they demonstrate a persistent and unjustified conflation of aesthetic and artistic value, which in turn is based on a more general failure to explicitly tackle the demarcation of aesthetic value. As such, the claims of each side are rendered ambiguous in respect of the relation that is supposed to hold between all these types of value and artistic value. These issues are discussed in light of a recent argument proposed by Matthew Kieran, to undermine, to some extent, the conceptual distinction between aesthetic, cognitive-ethical, and artistic values in our appraisal of art works. In rejecting his argument, I defend the conceptual distinction and a pluralistic conception of artistic value that allows for cognitive and ethical values to count as artistic, but not aesthetic, values.     

Understanding Kant's Distinction between Free and Dependent Beauty

I interpret Kant's distinction between free and dependent beauty in a way that makes it possible for an object to be judged dependently beautiful without being judged freely beautiful. This is an alternative to the analyses provided by Malcolm Budd and Christopher Janaway, which both face a dilemma because they entail that an object must be judged freely beautiful in order to be judged dependently beautiful. The dilemma is that either the determinant of a judgement of dependent beauty is based upon non-aesthetic criteria (if the object is not freely beautiful), or else the judgement is superfluous for an account of aesthetic value. My analysis of the distinction allows both kinds of beauty to play a meaningful role in a theory of aesthetic value.     

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.     

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.     

Frauds,Posers And Sheep: A Virtue Theoretic Solution To The Acquaintance Debate

The acquaintance debate in aesthetics has been traditionally divided between pessimists, who argue that testimony does not provide others with aesthetic knowledge of artworks, and optimists, who hold that acquaintance with an artwork is not a necessary precondition for acquiring aesthetic knowledge. In this paper I propose a reconciliationist solution to the acquaintance debate: while aesthetic knowledge can be had via testimony, aesthetic judgment requires acquaintance with the artwork. I develop this solution by situating it within a virtue aesthetics framework based on Ernest Sosa's virtue epistemology. I go on to apply the solution to the debates on moral testimony and expert testimony. An interesting variant on Gettier cases emerges: cases in which subjects have knowledge, but it has been formed by the wrong competence.     

Using an AI creativity system to explore how aesthetic experiences are processed along the brain’s perceptual neural pathways

With the increased sophistication of AI techniques, the application of these systems has been expanding to ever newer fields. Increasingly, these systems are being used in modeling of human aesthetics and creativity, e.g. how humans create artworks and design products. Our lab has developed one such AI creativity deep learning system that can be used to create artworks in the form of images and videos. In this paper, we describe this system and its use in studying the human visual system and the formation of aesthetic experiences. Specifically, we show how time-based AI created media can be used to explore the nature of the dual-pathway neuro-architecture of the human visual system and how this relates to higher cognitive judgments such as aesthetic experiences that rely on these divergent information streams. We propose a theoretical framework for how the movement within percepts such as video clips, causes the engagement of reflexive attention and a subsequent focus on visual information that are primarily processed via the dorsal stream, thereby modulating aesthetic experiences that rely on information relayed via the ventral stream. We outline our recent study in support of our proposed framework, which serves as the first study that investigates the relationship between the two visual streams and aesthetic experiences.