神经美学：探索审美与大脑的关系

神经美学采用神经科学的技术手段来探索审美的神经机制。本文从审美认知加工过程的角度来探讨审美的心理学原理及其神经机制。回顾了近年来神经美学取得的主要成果, 研究发现与审美加工相关的脑区主要涉及感知觉、运动、情绪以及奖赏等机能系统。神经美学的三个重要研究主题是真与美、离身认知与具身认知以及认知与情绪。未来研究应从时间维度来探讨审美体验的动态性, 从跨艺术形式以及跨文化的视角来探讨审美神经机制的普遍性。     

音乐的神经美学：从审美反应到神经基础

近年来, 随着音乐的神经科学与神经美学的发展, 逐渐形成一个新的研究领域, 即音乐的神经美学。这一研究领域关注音乐审美的心理过程和神经机制, 将注意力集中于音乐审美活动中的感知、认知和情感解释。音乐审美加工引起了相应的审美反应, 其中有三种音乐审美反应得到研究者更多的关注, 即音乐审美情绪、判断与偏好。研究者围绕这三种反应, 对音乐审美反应的知觉、认知、情绪加工和影响因素以及其神经机制展开研究。这些研究为我们理解音乐和美学的行为与神经机制提供了经验性证据。     

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。     

审美的神经机制

审美能力是人类独有的高级功能。本文介绍了审美的认知神经模型, 以及相关研究的实验范式, 对各种刺激材料和任务进行了评价。回顾了近年来脑成像研究的主要进展, ERP和MEG研究证明审美包含发生在不同时段的不同加工阶段, 与审美判断相关的ERP成分为300~400 ms 额中部负成分和440~880 ms 头皮后部晚期正成分。fMRI研究发现与审美相关的主要脑区包括尾状核、框额部皮质和扣带前回。未来研究应进一步区分审美的不同方面的神经机制之间的差别, 扩大刺激材料范围, 更深入地探讨复杂因素, 如文化因素对审美神经机制的影响。     

哥本哈根神经美学会议:一个新兴领域的前途与缺陷

神经美学是一个年轻的研究领域,它主要关注个体面对艺术作品、非艺术客体或一种自然现象采取审美或艺术方法时所基于的认知与情感神经基础.2009年9月,哥本哈根神经美学会议聚集了这个领域的主要研究者来呈现和讨论当前的进展.我们归纳概括了这次会议的部分主题,把神经美学放置到历史背景中讨论它的范围及和其它学科的关系.我们也确定了我们认为重要而未解决的问题和这个领域面对的主要陷阱、挑战以及未来研究中的有前途的方法.     

论童庆炳美学(中)

<正>二、"走向心理美学":童庆炳的美学阵地心理美学,与哲学美学、社会学美学并称为美学的三大支柱,其研究对象是审美主体在一切审美体验中的心理活动,以艺术创作和艺术接受活动中的审美心理机制为主要内容[21]。"心理美学"是童庆炳美     

从审美关系看人生美学——对朱志荣教授人生美学的解读和再思

美学的研究对象不仅仅是艺术还要包括自然这已经是没有争议的问题了.但是除此之外,什么还能进入审美领域成为审美对象学术界似乎还并没有形成共识.有的学者已经将人生纳入美学研究的对象,但是并没有将其看做审美对象只是从外部看待审美和人生的关系.朱志荣教授认为人生必须成为美学研究的对象并且从审美关系入手将其和自然、艺术一起作为审美的三大对象.我们认为,在朱志荣先生的人生美学理论中,展现出人生美学进一步发展的可能性,本文就拟对这些可能性作进一步思考.     

神经美学——艺术的神经基础

什么是艺术？它为什么能成为所有社会都能接受的共同文化？随着神经科学的飞速发展,一门崭新的领域——神经美学,用于解释这个问题。神经美学研究目标是了解艺术创造、欣赏和审美的神经基础。神经美学研究将美术、音乐等艺术形式与神经科学研究手段结合起来探索其中的奥秘,神经美学研究必将为美学的发展做出革命性的贡献。     

大众与个人审美品位的认知与神经机制

大众与个人的审美品位分别代表了审美活动在个体间的一致性和差异性。将大众品位和个人品位相结合的新趋势正在挑战传统的“普遍性”审美法则, 并日益凸显审美反应的个体差异。存在诸多因素可以调节大众和个人审美品位的相对比例, 包括刺激类型、专业性、文化背景、先前经验和年龄等。大众与个人审美品位的神经机制中, 奖赏系统和默认模式网络扮演重要角色。目前, 审美品位与审美加工模型的理论关系有待进一步厘清和验证。未来相关研究可以在拓展审美对象领域、完善大众与个人审美品位与不同审美加工阶段的对应关系等方向上继续开展。     

“审美共鸣”理论的“误读”与还原

作为格式塔心理美学的代表人物,阿恩海姆将格式塔理论应用于美学从而为美学发展提供了新的视角。与此同时,也引起了人们对于其诸如审美共鸣等理论的误读。故有必要还原阿恩海姆的理论初衷与审美共鸣的发生机制,并指出其中本就包含而为人所忽视的情感因素,而这也正是造成审美差异的重要因素。     

Is Perception the Canonical Route to Aesthetic Judgment?

It is commonplace amongst philosophers of art to make claims that postulate important links between aesthetics and perception. In this paper, I focus on one such claim—that perception is the canonical route to aesthetic judgment. I consider a range of prima facie plausible interpretations of this claim, and argue that each fails to identify any important link between aesthetic judgment and perception. Given this, I conclude that we have good reason to be sceptical of the claim that perception is in any way privileged as a source of aesthetic judgment.     

On the aesthetic potential of sports and physical education

Even though there is a general presence of aesthetics in school curricula in most of western countries, both at the level of terminology and at the level of choice and definition of contents, objectives and skills to be developed, the approach to sports and physical education potential for the development of aesthetic education of students still does not seem to be a reality in the agenda of this subject. Moreover, it is not transversal in terms of its different didactic contents. In order to explore its relevance, the aim of this work was to deepen how aesthetics is internal and central to sports experience, and which elements of sports and physical education lived experiences can be relevant in the promotion and development of the aesthetic sensibility of students. We propose the deepening of the subject through an hermeneutical qualitative research approach, confronting the content collected in 19 semi-structured interviews that enabled the thematic analysis of its content, and through it, the discussion of viewpoints of representative subjects among those that are the main players in the consideration of an aesthetic education through sport, namely physical education teachers and researchers in the context of aesthetics and sports sciences. With the information gathered and after its processing, we could conclude that there are aesthetic elements of sport's experience that should be taken into account in an aesthetic educational point of view of physical education, namely: complexity, diversity, playability, tension between drama and accuracy, overcoming experience, risk and vulnerability, unpredictable storylines and uncertainty, technique and effectiveness.     

Fabric-circle-slider: Prototype Exploring the Interaction Aesthetic of Contextual Integration

Traditionally, designers have explored the aesthetics of interaction through the relationship between the product form and the activity people use it for. However, in the increasing complexity of interconnected and multi-activity devices in the home, aesthetics have been sacrificed in a move to increase usability. In this paper, we present an emerging theory that interaction designs that take a contextual integration approach can draw interaction aesthetics from the context instead of the activity to address the increased complexity. In addition, we present a conceptual interaction widget called the fabric-circle-slider that draws its interaction aesthetic from a lounge chair – the context of use – and supports interaction with many devices.     

论《周易》之“观”的审美特征

"观"在《周易》中占有重要地位,它不仅是一种认识活动,更是一种审美活动。在艺术上,观物取象的思维方式和仰观俯察的审美观照方式对艺术欣赏和创作影响深远,同时又是一种道德完善和理想人格的修养过程。另外,在"观"中还体现了尽善尽美、天人合一的理想境界。这些都对中国美学产生了深远的影响。     

论霍克海默的审美教育观及其当代价值

文章阐明了霍克海默的审美教育观及其当代价值,提出他的审美教育观是以主客体相互中介的"社会批判理论"为基础,以强调培育反思能力与自由个性的人为目标;他的这一审美教育观念不仅影响了现代德国美育教育学理论,也影响了美育教学和艺术创作,对于我国当代美育理论与教学实验及发展文化产业,都具有积极的借鉴及启示意义。     

Structure Disclosed. Replete Moments and Aesthetic Experience in Reading Novels

ABSTRACT

Despite the huge interest in different philosophical questions surrounding literature, particularly analytic philosophers have had relatively little to say about literature’s specifically aesthetic character. Peter Kivy has developed this antiaesthetic tendency furthest, ultimately denying that the reading of prose literature has any deep aesthetic content. Building on Alan Goldman’s and John Dewey’s work on aesthetic experience, I argue that a key literary feature of novels I single out – what I term a replete moment – has the potential to trigger in readers significant aesthetic experiences. Along with revealing aesthetic aspects in reading that Kivy’s position does not cover, my account shows that contemplation of the overall structure of the novel is not the sole, more substantial form aesthetic experience can take in the case of reading, as Kivy’s formalistic literary aesthetics assumes. This conclusion is argued to be significant also for the general philosophical discussion on aesthetic experience. An analysis of a key passage in John Irving’s A Prayer for Owen Meany is an important part of the view of literary aesthetic experience put forth.     

Margolis Looks at the Arts

This paper examines the early aesthetic writings of Joseph Margolis from the late 1950s to the mid-1960s in order to argue for the relevance of these works in understanding Margolis’s later, more well-known views in the philosophy of art. Specifically, the paper addresses Margolis’s early essays on the definition and ontology of art and aesthetic perception. These essays not only show Margolis engaged in the most significant debates in mid-century analytic aesthetics but also provide important indications of the limitations of that approach to thinking about the arts that informs the development of Margolis’s later cultural realism.     

庄子"天地大美"思想的现代阐释

在知识学、美学、伦理学分科的学术背景下解读庄子思想,庄子以“道”为指归,批判现实人生中的知识、伦理因素,追求与“道”相融通的境界,向自身、向固有存在结构复归,具有美学内涵。“天地大美”作为其唯一肯定的通达于“道”的中介,在于使世界以其本来面目自然呈现,具有“美”的本体意义,成为体现庄子思想美学内涵的核心范畴。     

A new conception of visual aesthetic sensitivity

Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself. We introduce a new conception of aesthetic sensitivity defined as the extent to which someone's aesthetic valuation is influenced by a given feature. Experiment 1 aimed to characterize aesthetic sensitivity to four prominent features in visual aesthetics: complexity, symmetry, contour, and balance. Experiment 2 aimed to replicate the findings of Experiment 1 and to assess the test–retest reliability of an instrument designed to measure aesthetic sensitivity to these features using an abridged set of stimuli. Our results reveal that people differ remarkably in the extent to which visual features influence their liking, highlighting the crucial role of individual variation when modelling aesthetic preferences. We did not find clear relations between the four measures of aesthetic sensitivity and personality, intelligence, and art interest and knowledge. Finally, our measurement instrument exhibited an adequate-to-good test–retest reliability.