加工越流畅越美？——抽象艺术作品审美加工探秘

研究探讨审美加工的心理机制。基于愉悦流畅模型假设作品的内容易得度、清晰度、美丽度会通过影响加工流畅性进而影响审美偏好。研究包括两个实验,实验1以分类任务为实验程序记录被试对内容易得度、清晰度、美丽度不同的绘画的识别反应时,实验2请被试对实验一呈现过的绘画进行偏好评价。研究结果证明抽象审美加工与知觉识别同时进行。内容易得度、清晰度和美丽度显著影响作品的加工流畅性。加工流畅性和偏好评价显著正相关.     

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。     

The embodiment of beauty: Evidence from viewing Chinese concrete words and pictographs

How is beauty embodied? According to the viewpoint of embodied cognition, the aesthetic processing of words or pictographs has roots in their referential archetypes. Four experiments tested whether the beauty of referential archetypes was routinely activated during the explicit and implicit aesthetic evaluations of the font structures of concrete Chinese words and pictographs in congruent or incongruent font colour. Results showed font structures of simplified Chinese words and pictographs were judged to be more beautiful when they referred to beautiful archetypes; and this pattern was reversed when they referred to ugly archetypes. Moreover, judgement was facilitated when font colour was congruent for Chinese words and pictographs referred to beautiful archetypes. For those referred to ugly archetypes, judgement was inhibited in congruent font colour but facilitated in incongruent font colour, suggesting aesthetic perceptions of the font structures of Chinese words and pictographs were derived from their referential natural objects. The spontaneous generation hypothesis of beauty is proposed to account for these findings.     

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.     

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。     

An electrophysiological comparison of visual categorization and recognition memory

Object categorization emphasizes the similarities that bind exemplars into categories, whereas recognition memory emphasizes the specific identification of previously encountered exemplars. Mathematical modeling has highlighted similarities in the computational requirements of these tasks, but neuropsychological research has suggested that categorization and recognition may depend on separate brain systems. Following training with families of novel visual shapes (blobs), event-related brain potentials (ERPs) were recorded during both categorization and recognition tasks. ERPs related to early visual processing (N1, 156–200 msec) were sensitive to category membership. Middle latency ERPs (FN400 effects, 300–500 msec) were sensitive to both category membership and old/new differences. Later ERPs (parietal effects, 400–800 msec) were primarily affected by old/new differences. Thus, there was a temporal transition so that earlier processes were more sensitive to categorical discrimination and later processes were more sensitive to recognition-related discrimination. Aspects of these results are consistent with both mathematical modeling and neuropsychological perspectives.     

Event-related potentials of emotional memory: encoding pleasant,unpleasant, and neutral pictures

Emotional events tend to be remembered better than nonemotional events. We investigated this phenomenon by measuring two event-related potential (ERP) effects: the emotion effect (more positive ERPs for pleasant or unpleasant stimuli than for neutral stimuli) and the subsequent memory effect (more positive ERPs for subsequently remembered items than for subsequently forgotten items). ERPs were measured while subjects rated the emotional content of pleasant, unpleasant, and neutral pictures. As was expected, subsequent recall was better for pleasant and unpleasant pictures than for neutral pictures. The emotion effect was sensitive to arousal in parietal electrodes and to both arousal and valence in frontocentral electrodes. The subsequent memory effect at centroparietal electrodes was greater for emotional pictures than for neutral pictures during an early epoch (400-600 msec). This result suggests that emotional information has privileged access to processing resources, possibly leading to better memory formation.     

Eye color and judgments of aesthetic value of shapes.

47 university students provided judgments of the aesthetic value of polygon and histogram shapes that were either symmetric or asymmetric. A sigificant over-all preference to symmetric shapes was evident (p less than .05), and judgments were significantly more positive for brown-eyed subjects. Furthermore, the aesthetic values assigned to shapes showed a systematic interaction with eye color such that brown-eyed subjects produced higher aesthetic ratings for symmetric shapes than blue-eyed subjects, while no such differences appeared for asymmetric shapes.     

THE SENSE OF BEAUTY

This paper proposes an integrative psychoanalytic model of the sense of beauty. The following definition is used: beauty is an aspect of the experience of idealisation in which an object(s), sound(s) or concept(s) is believed to possess qualities of formal perfection. The psychoanalytic literature regarding beauty is explored in depth and fundamental similarities are stressed. The author goes on to discuss the following topics: (1) beauty as sublimation: beauty reconciles the polarisation of self and world; (2) idealisation and beauty: the love of beauty is an indication of the importance of idealisation during development; (3) beauty as an interactive process: the sense of beauty is interactive and intersubjective; (4) the aesthetic and non-aesthetic emotions: specific aesthetic emotions are experienced in response to the formal design of the beautiful object; (5) surrendering to beauty: beauty provides us with an occasion for transcendence and self-renewal; (6) beauty's restorative function: the preservation or restoration of the relationship to the good object is of utmost importance; (7) the self-integrative function of beauty: the sense of beauty can also reconcile and integrate self-states of fragmentation and depletion; (8) beauty as a defence: in psychopathology, beauty can function defensively for the expression of unconscious impulses and fantasies, or as protection against self-crisis; (9) beauty and mortality: the sense of beauty can alleviate anxiety regarding death and feelings of vulnerability. In closing the paper, the author offers a new understanding of Freud'semphasis on love of beauty as a defining trait of civilisation. For a people not to value beauty would mean that they cannot hope and cannot assert life over the inevitable and ubiquitous forces of entropy and death.     

Regional brain activity during face and word discrimination: simultaneous recording of event-related potentials and positron emission tomography

In order to clarify the brain mechanisms involved in the recognition of faces, words, and figures, spatiotemporal analyses were carried out with event-related potentials (ERPs) and positron emission tomography (PET) in normal subjects. In the first experiment, we analyzed the ERPs of eight normal subjects under a passive habituation paradigm using pictures of faces and letters. In the second experiment, regional cerebral blood flow (rCBF) measured using PET was obtained simultaneously with the ERP recordings during a continuous performance task (CPT) in 12 normal subjects. This required the active discrimination of famous people's faces, meaningful words consisting of two Japanese hiragana characters, and simple geometric figures. There were similar deflections in the global field power (GFP) in the first 200 ms of the passive and active tasks, regardless of type of stimuli. This suggests a common time course in the visual information processing mechanisms during the preattentive stage. Mesiotemporal activity, dominant on the right, was seen during the face discrimination task in both the PET results and the ERP topographies. In the word task, activity that was clearly dominant on the left was observed at around a 160 ms latency in the posteriotemporal region of the ERP topography and this again coincided well with the PET data. The spatiotemporal resolution of the analyses was improved by combining PET and topographic ERP studies, and this provided additional neurophysiological information concerning cognitive processing.     

Biological vs experiential factors in phobic conditioning

The present study was performed as a test of phobic conditioning being a case of prepared learning (Seligman, 1971). Skin conductance responses were conditioned in three groups of subjects to either slides of snakes and spiders; electric outlets; or geometric shapes, as conditioned stimuli (CSs) with shock to the forearm as the unconditioned stimulus (UCS). The purpose of the experiment was to compare electrodermal conditioning to potentially phobic CSs, i.e. snakes and spiders, with conditioning to fear-relevant, but non-phobic, CSs, i.e. electric outlets.Each subject saw two pictures, either a snake or a spider; or two different slides of electric outlets; or two different geometric shapes. Only one of the two cues (the CS + ) was immediately followed by the shock-UCS during the acquisition phase. Thus, a differential paradigm was used. There were 4 habituation, 12 acquisition, and 16 extinction trials. The duration of the pictures was 8 sec with an intertrial interval of between 35–45 sec.The results showed reliable effects of conditioning in all three groups during the acquisition phase. Furthermore, a significant interaction during extinction is reported, indicating responses to potentially phobic CSs to be more resistant to extinction than responses to the other two classes of stimuli. It is concluded that the present results favor an interpretation of phobic conditioning in terms of biologically prepared learning.     

美感对西方绘画无意识加工的影响

采用连续闪烁抑制范式(Continuous Flash Suppression, CFS), 通过比较不同美感的图片的突破抑制时间,考察了美感对西方绘画无意识加工的影响。实验1使用黑白噪音图片, 通过单因素被试内设计考察了高、中、低三种美感等级的彩色西方绘画的突破抑制时间。结果发现, 美感高和美感中等的西方绘画比美感低的西方绘画能更快突破噪音图片的抑制进入意识。实验2考察在彩色噪音图片的抑制下, 美感是否依然影响彩色西方绘画突破抑制的时间。结果发现, 美感不影响西方绘画突破抑制时间, 且突破抑制时间显著长于实验1。这些结果表明美感对西方绘画无意识加工的影响受到双眼竞争的眼间抑制过程的限制, 只有在黑白噪音图抑制的情况下, 美感会影响西方绘画进入意识的速度。与黑白噪音图片相比, 彩色噪音图片可能对颜色信息的抑制更强, 干扰了美感对西方绘画无意识加工的影响。     

Recommending beauty: semantics and pragmatics of aesthetic predicates

The paper offers a semantic and pragmatic analysis of statements of the form ‘x is beautiful’ as involving a double speech act: first, a report that x is beautiful relative to the speaker’s aesthetic standard, along the lines of naive contextualism; second, the speaker’s recommendation that her audience comes to share her appraisal of x as beautiful. We suggest that attributions of beauty tend to convey such a recommendation due to the role that aesthetic practices play in fostering and enhancing interpersonal coordination. Aesthetic practices are driven by a disposition towards the attunement of attitudes and aesthetic recommendations contribute to forwarding such attunement. Our view is motivated by an attempt to satisfy the following set of desiderata: to account for (i) the experiential nature of aesthetic judgments, (ii) disagreements in aesthetic debates, and (iii) the normative aspirations of aesthetic discourse, as well as to avoid appealing to (iv) error theory and (v) realist ontological commitments.     

Implicit and explicit learning of event sequences: evidence for distinct coding of perceptual and motor representations

Event-related brain potentials (ERPs) of 21 subjects were recorded in a choice reaction time task with a repeating eight-element long stimulus sequence. The regular event sequence was sometimes interrupted by 'perceptual' or by 'motor deviants' which both replaced an expected stimulus but either preserved or violated the sequence of motor responses. Response times confirmed that all subjects had acquired some knowledge of the sequential dependencies. By means of a post-experimental free recall and recognition test, subjects were classified as having either explicit or implicit knowledge of the event sequence. The ERPs showed different effects for different types of stimuli and the two groups. In the group of explicit learners, a larger N200 component was evoked by both types of deviants and a larger P300 by motor deviants only. In the group of implicit learners these 'perceptual components' remained unaffected. In contrast, in both groups of subjects the lateralized readiness potential (LRP) which accompanied motor deviants revealed a partial activation of the to be expected but incorrect response, i.e. motor learning. These results suggest that explicit learners acquire knowledge about both, stimulus and response dependencies while implicit learners acquire knowledge about response dependencies only.     

道家人格美到道教“仙格”美的嬗变--《河上公章句》与《想尔注》美学思想综论之一

先秦道家美学人格论转变为魏晋道教“神仙”美学思想，其间最具代表性的文献是《老子河上公章句》和《老子想尔注》，它们在人(仙)格美的内在与外在、凡人仙人人格对比、神仙审美心理、道家道教人格修炼与艺术美之关系等四个方面，展示了道教美学人格思想的嬗变过程，再次证明了先秦道家美学思想与后世道教美学思想之间的亲缘关系，也证明道教美学思想丰富的民族文化底蕴。     

Tracing the time course of picture--word processing

A number of independent lines of research have suggested that semantic and articulatory information become available differentially from pictures and words. The first of the experiments reported here sought to clarify the time course by which information about pictures and words becomes available by considering the pattern of interference generated when incongruent pictures and words are presented simultaneously in a Stroop-like situation. Previous investigators report that picture naming is easily disrupted by the presence of a distracting word but that word naming is relatively immune to interference from an incongruent picture. Under the assumption that information available from a completed process may disrupt an ongoing process, these results suggest that words access articulatory information more rapidly than do pictures. Experiment 1 extended this paradigm by requiring subjects to verify the category of the target stimulus. In accordance with the hypothesis that picture access the semantic code more rapidly than words, there was a reversal in the interference pattern: Word categorization suffered considerable disruption, whereas picture categorization was minimally affected by the presence of an incongruent word. Experiment 2 sought to further test the hypothesis that access to semantic and articulatory codes is different for pictures and words by examining memory for those items following naming or categorization. Categorized words were better recognized than named words, whereas the reverse was true for pictures, a result which suggests that picture naming involves more extensive processing than picture categorization. Experiment 3 replicated this result under conditions in which viewing time was held constant. The last experiment extended the investigation of memory differences to a situation in which subjects were required to generate the superordinate category name. Here, memory for categorized pictures was as good as memory for named pictures. Category generation also influenced memory for words, memory performance being superior to that following a yes--no verification of category membership. These experiments suggest a model of information access whereby pictures access semantic information were readily than name information, with the reverse being true for words. Memory for both pictures and words was a function of the amount of processing required to access a particular type of information as well as the extent of response differentiation necessitated by the task.     

THE BEAUTIFUL AND THE SUBLIME IN NATURAL SCIENCE

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence.     

Beauty in Proofs: Kant on Aesthetics in Mathematics

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non‐conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition.     

Aesthetics of streetscapes: influence of fundamental properties on aesthetic judgments of urban space

This experiment was designed to investigate the relationship between the fundamental visual, spatial properties of existing complex streetscapes and aesthetic judgments. Participants performed aesthetic judgments over 35 photographs of typical spatial situations taken along the Meissner Strasse in Radebeul, Germany. In a modified Q-Sort procedure, the participants assigned the pictures to five categories, including 1 (beautiful) and 5 (not beautiful). Vegetation, Stylistic Uniformity, Homogeneity of Scale, and Symmetry were identified as primary components of aesthetic judgment by using principal component analysis. Stimuli, photographically edited according to these factors, were then tested using the same Q-Sort procedure, which confirmed these determinants. These results are intended to help the development of the theoretical understanding of the link between the influence of selected spatial properties and the aesthetic judgment of the visual quality of urban spaces.