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。     

审美概念理解对审美感性水平影响的实验探索

通常认为审美理性对审美感性有消极影响。这至少对认知心理学和人工智能的研究与发展形成了一种障碍。本研究以审美概念理解作为审美理性活动的典型式,对二者的实际关系进行探索。实验对象分为A类普通被试和B类艺术专业被试。结果表明：无论是否通过专门的审美概念学习训练,实验组和对照组的审美概念理解与审美感性水平的发展都呈共同上升趋势：通过学习训练,审美概念理解程度有显著提高,且显著有助于AB两类被试审美感受总水平提高;审美概念理解的“合理性”（正确性与精确性）是对审美感性各因素影响的显著因子,而其“事实例举”对于审美感性中的审美感知、审美联想、审美情感等是显著因子。A类小学5年级被试的审美感知和审美情感、B类大学美术专业2年级被试的审美感知,实验前后无显著差异,这表明审美理性对审美感性所具有的积极影响,在一定条件下是有限的。     

工读生情绪一致性记忆实验研究

本研究主要是考察在工读生中的情绪一致性记忆,实验采用Deese-Rodiger-McDermot(DRM)任务研究范式,品行障碍青少年被试(工读生),在实验中表现出对于攻击与愤怒的反应偏向,与普通学生相比产生了更多的错误记忆,而普通中学生则没有反应偏好,证明了工读生对于情绪材料的反应偏向。运用信号检测论的分析表明,工读生对于攻击与愤怒负性情绪的辨别力低于普通学生。这需要在临床中注意情绪一致性错误记忆的研究,未来的研究应该深入探讨工读生的执行认知功能。     

背景应激对静息态下大脑自发神经活动的影响

本研究试图探究背景应激对应激相关大脑自发神经活动的影响。使用日常应激水平作为背景应激的量化指标。同时，使用静息态fMRI技术，采集了个体在静息态下的大脑自发神经活动，并使用局部一致性（ReHo）作为指标。结果发现，背景应激越高的个体，右侧海马（扩展到丘脑和脑干）静息态下局部一致性水平越高。结果提示，经历了高背景应激的个体会表现出边缘系统脑区的自发神经活动的持续活跃状态。     

幼儿心理理论发展的一般认知基础--不同心理理论任务表现的特异性与一致性

本研究试图探究中国幼儿心理理论发展的一般变化趋势,通过探查90位3～5岁幼儿在不同心理理论任务表现的特殊性及内在一致性,结果表明：3～5岁间幼儿的心理理论发生急剧变化;幼儿在各任务上的表现总体上存在某种潜在的一致性;但他们在不同任务上的表现存在较大差异,这表明心理理论表现具有显著的任务特异性。     

评分者内部一致性的研究和应用

在行为科学的研究和实践中,研究者常常需要将个体层次的评价,整合到群体层次的评价,对于这种自下而上整合模式的一致性问题,国内一些学者常常错误地使用评分者内部信度作为评分者内部一致性的指标。评分者内部一致性和评分者内部信度不仅在理论基础上存在差异,而且在实践中也存在前者很高(或很低),而后者却很低(或很高)的不一致情况。文章阐述了学术界对评分一致性这一问题的提出、争论和取得一致观点的发展脉络,以期学者们对这一问题能够有深入的思索,避免在今后的研究中出现类似的错误。     

影响情绪一致性效应的因素

本研究旨在考察情绪一致性效应的本质特点及其影响因素。以模糊程度不同的图片为判断任务,以情绪状态、个性特质以及加工方式为自变量进行实验。结果发现个性因素通过影响情绪间接影响情绪一致性效应,自动加工存在“积极偏向”,图片特征的变化没有显著改变情绪一致性效应。     

传统中国画审美元素在当代油画风景创作中的运用研究

在油画创作上百年的发展历程中,中西方的绘画由相互怀疑、抗拒再到学习,进而由被动学习到主动创新。艺术家在自己的创作中会潜移默化地将中国传统绘画审美元素融合到创作中去,中国油画风景的表现在学习西方大师作品的同时,更加注重发掘本民族的文化艺术魅力。如何平衡中国画中的美术形态在油画风景创作中的关系,体现中国文化思维和精神,是艺术家需要思考的问题。以当代油画风景创作对中国画传统元素的借鉴为研究切入点,从对中国传统绘画美术元素特征分析的视角对风景油画创作进行大胆研究创新,通过探寻中国画与现代油画创作的可融合之处,进而在风景油画创作中能创作出时代气息与民族传统国画风格相融合的当代中国风景油画的力作,在世界画坛上大放光彩。     

记忆编码策略对心境一致性记忆的调节作用

情绪对记忆的影响会受记忆编码策略的调节。本研究通过2个实验探讨编码策略对心境一致性记忆的调节作用。实验1和实验2均采用2（编码策略：提取练习策略、重复学习策略）×2（词性：消极词、中性词）的实验设计,分别探讨了不同记忆编码策略对普通大学生（实验1）和非临床抑郁大学生（实验2）心境一致性记忆的影响。结果发现：无论是被成功诱导出抑郁情绪的普通大学生,还是非临床抑郁倾向大学生,使用重复学习策略时回忆出的消极词均显著多于中性词,表现出显著的心境一致性记忆,而使用提取练习策略时回忆出的消极词和中性词没有显著性差异,未表现出心境一致性记忆。实验结果表明,记忆编码策略对心境一致性记忆具有调节作用,提取练习策略能够抑制心境一致性记忆。研究结果指明了心境一致性记忆的边界条件,并对非临床抑郁个体的学习与记忆具有重要的启示。     

"讲"与"看"的思维拓展

中学美术欣赏课“讲”与“看”的教学环节必须建立在“大美术”概念的框架上,揭示欣赏内容与本学科、相关学科的相互关系。以讲述带动“情感”和“意识观念”的转变。“讲”与“看”必须是在教师描述、学生想象创造以及直观性示范讲解等情形下得以实施。注重“讲”与“看”的相互作用和课堂外的审美实践活动,以综合性美术教育的理念来提高中学生总体的美术欣赏水平和综合素质。     

Context effects on emotional and aesthetic evaluations of artworks and IAPS pictures

In the arts emotionally negative objects sometimes can be positively judged. Defining an object as art possibly yields specific changes in how perceivers emotionally experience and aesthetically judge a stimulus. To study how emotional experiences (joy, anger, disgust, fear, sadness, and shame ratings, plus facial EMG) and aesthetic judgements (liking ratings) are modulated by an art context (“This is an artwork”) as compared to non-art reality context (“This is a press photograph”) participants evaluated IAPS pictures and veridical artworks depicting emotionally positive and negative content. In line with the assumption that emotional distancing is an essential feature of the art experience we found that positive emotional reactions were attenuated (joy, M. zygomaticus activation) in an art compared to non-art context. However, context had little influence on negative emotional reactions (anger, disgust, fear, sadness, shame, and M. corrugator activation) suggesting that these are similar in art and non-art. Importantly, only artworks of emotionally negative content were judged more positively in an art context — thus liked more. This study, in accordance with the assumption of a distanced aesthetic mode, shows that an art context fosters appraisal processes that influence emotional experiences, allowing to judge negative stimuli aesthetically more positively — thus suppressing the immediacy of emotional stimulus content.     

Brain correlates of aesthetic expertise: a parametric fMRI study

Several studies have demonstrated that acquired expertise influences aesthetic judgments. In this paradigm we used functional magnetic resonance imaging (fMRI) to study aesthetic judgments of visually presented architectural stimuli and control-stimuli (faces) for a group of architects and a group of non-architects. This design allowed us to test whether level of expertise modulates neural activity in brain areas associated with either perceptual processing, memory, or reward processing. We show that experts and non-experts recruit bilateral medial orbitofrontal cortex (OFC) and subcallosal cingulate gyrus differentially during aesthetic judgment, even in the absence of behavioural aesthetic rating differences between experts and non-experts. By contrast, activity in nucleus accumbens (NAcc) exhibits a differential response profile compared to OFC and subcallosal cingulate gyrus, suggesting a dissociable role between these regions in the reward processing of expertise. Finally, categorical responses (irrespective of aesthetic ratings) resulted in expertise effects in memory-related areas such as hippocampus and precuneus. These results highlight the fact that expertise not only modulates cognitive processing, but also modulates the response in reward related brain areas.     

TMS over the superior temporal sulcus affects expressivity evaluation of portraits

When viewing a portrait, we are often captured by its expressivity, even if the emotion depicted is not immediately identifiable. If the neural mechanisms underlying emotion processing of real faces have been largely clarified, we still know little about the neural basis of evaluation of (emotional) expressivity in portraits. In this study, we aimed at assessing—by means of transcranial magnetic stimulation (TMS)—whether the right superior temporal sulcus (STS) and the right somatosensory cortex (SC), that are important in discriminating facial emotion expressions, are also causally involved in the evaluation of expressivity of portraits. We found that interfering via TMS with activity in (the face region of) right STS significantly reduced the extent to which portraits (but not other paintings depicting human figures with faces only in the background) were perceived as expressive, without, though, affecting their liking. In turn, interfering with activity of the right SC had no impact on evaluating either expressivity or liking of either paintings’ category. Our findings suggest that evaluation of emotional cues in artworks recruit (at least partially) the same neural mechanisms involved in processing genuine biological others. Moreover, they shed light on the neural basis of liking decisions in art by art-naïve people, supporting the view that aesthetic appreciation relies on a multitude of factors beyond emotional evaluation.     

When we like what we know – A parametric fMRI analysis of beauty and familiarity

This paper presents a neuroscientific study of aesthetic judgments on written texts. In an fMRI experiment participants read a number of proverbs without explicitly evaluating them. In a post-scan rating they rated each item for familiarity and beauty. These individual ratings were correlated with the functional data to investigate the neural correlates of implicit aesthetic judgments. We identified clusters in which BOLD activity was correlated with individual post-scan beauty ratings. This indicates that some spontaneous aesthetic evaluation takes place during reading, even if not required by the task. Positive correlations were found in the ventral striatum and in medial prefrontal cortex, likely reflecting the rewarding nature of sentences that are aesthetically pleasing. On the contrary, negative correlations were observed in the classic left frontotemporal reading network. Midline structures and bilateral temporo-parietal regions correlated positively with familiarity, suggesting a shift from the task-network towards the default network with increasing familiarity.     

Perhaps There Is Accounting for Taste: Evaluating the Creativity of Products

Ratings on a creativity rating scale of students' designs of a hands-free mobile phone holder were compared for 2 sets of raters: experts (professional art teachers) and novices (visual art students). Reliabilities of total creativity scores were high for both groups, and interjudge consistency on total creativity scores, as well as on grades, was high among novices, but not as high among experts. Correlations between grades and total functional creativity scores within and across groups of raters (experts and novices) were highly significant. Scores on the scale resembled those yielded by assessments using grades and the scale did not yield better consistency among judges than conventional grades. Nonetheless, it provided a differentiated assessment of products that made it possible to explain the basis of experts' opinions and the reasons for disagreement, and to discuss the strengths and weaknesses of students' designs in a systematic and differentiated way.     

Towards a sensorimotor aesthetics of performing art

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six na?ve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures.     

Individual and group modelling of aesthetic judgment strategies

Individual differences in aesthetic judgments were investigated by comparing quantitative group and individual performance models of the judgment processes. Aesthetic judgments of beauty over novel, formal, graphic patterns were collected from 34 non‐artist college students using a two‐step ranking‐rating procedure. Their judgment processes were individually modelled using Judgment Analysis. The participants showed noted individual differences. Certain features of the stimulus material, which were considered to contribute to the picture's beauty by one participant, were used in an opposing fashion by another. A group model was derived based on the average ratings of the patterns' beauty. It was concluded that the group model was not an adequate representation of the present data, whereas the data revealed systematic judgment processes at the individual subject level.     

Is better beautiful or is beautiful better? Exploring the relationship between beauty and category structure

We evaluate two competing accounts of the relationship between beauty and category structure. According to the similarity-based view, beauty arises from category structure such that central items are favored due to their increased fluency. In contrast, the theory-based view holds that people’s theories of beauty shape their perceptions of categories. In the present study, subjects learned to categorize abstract paintings into meaningfully labeled categories and rated the paintings’ beauty, value, and typicality. Inconsistent with the similarity-based view, beauty ratings were highly correlated across conditions despite differences in fluency and assigned category structure. Consistent with the theory-based view, beautiful paintings were treated as central members for categories expected to contain beautiful paintings (e.g., art museum pieces), but not in others (e.g., student show pieces). These results suggest that the beauty of complex, real-world stimuli is not determined by fluency within category structure but, instead, interacts with people’s prior knowledge to structure categories.     

梅尔美术判断测验在中国应用的信、效度检验

目的:修订梅尔美术判断测验(Meier Art Judgment Test)并对其信度、效度进行检验。方法:通过对来自6所大学、中专共2270人施测梅尔美术判断测验,采用CTT区分度和IRT的模型拟合检验、区分度筛选项目,以霍兰德艺术分测验、学生艺术创作水平自评与艺术过往经历分量表为效标,以及采用效标组法(美术与非美术专业)检验效标关联效度。结果:保留的61题都拟合IRT的2参数logistic模型,量表得分与各效标得分相关显著,美术与非美术专业学生得分存在显著差异; 但测验信息量分析表明,对高能力被试的测量误差相对较大。结论:修订的量表能测量个体的美术判断能力; 今后改进方向应该是增加更难的试题。