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Aesthetic appreciation (AA) plays an important role for purchase decisions, for the appreciation of art and even for the selection of potential mates. It is known that AA is highly reliable in single assessments, but over longer periods of time dynamic changes of AA may occur. We measured AA as a construct derived from the literature through attractiveness, arousal, interestingness, valence, boredom and innovativeness. By means of the semantic network theory we investigated how the priming of AA-relevant semantic concepts impacts the dynamics of AA of unfamiliar product designs (car interiors) that are known to be susceptible to triggering such effects. When participants were primed for innovativeness, strong dynamics were observed, especially when the priming involved additional AA-relevant dimensions. This underlines the relevance of priming of specific semantic networks not only for the cognitive processing of visual material in terms of selective perception or specific representation, but also for the affective-cognitive processing in terms of the dynamics of aesthetic processing. 相似文献
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Helmut Tributsch 《Journal for General Philosophy of Science》2006,37(2):287-306
Summary Well known quantum and time paradoxes, and the difficulty to derive the second law of thermodynamics, are proposed to be the
result of our historically grown paradigm for energy: it is just there, the capacity to do work, not directly related to change.
When the asymmetric nature of energy is considered, as well as the involvement of energy turnover in any change, so that energy
can be understood as fundamentally “dynamic”, and time-oriented (new paradigm), these paradoxes and problems dissolve. The
most basic consequence concerns the particle-wave dualism. For a reversible inter-conversion of a particle into a wave, subject
to a dynamic energy, a self-image of information has to be generated: quantum theory has to be complemented by a theory of
information. Then, quantum processes can be derived from classical ones and the second law of thermodynamics with the tendency
of increasing entropy follows in a straightforward way. 相似文献
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Traditionally, artworks are seen as autonomous objects that stand (or should stand) on their own. However, at least since the emergence of Conceptual Art in the 1920s and Pop Art in the 1960s, art lacks any distinctive perceptual features that define it as such. Art, therefore, cannot be defined without reference to its context. Some studies have shown that context affects the evaluation of artworks, and that specific contexts (street for graffiti art, museum for modern art) elicit specific effects (Gartus & Leder, 2014). However, it is yet unclear how context changes perception and appreciation processes. In our study we measured eye-movements while participants (64 psychology undergraduates, 48% women) perceived and evaluated beauty, interest, emotional valence, as well as perceived style for modern art and graffiti art embedded into either museum or street contexts. For modern art, beauty and interest ratings were higher in a museum than in a street context, but context made no difference for the ratings of graffiti art. Importantly, we also found an interaction of context and individual interest in graffiti for beauty and interest ratings, as well as for number of fixations. Analyses of eye-movements also revealed that viewing times were in general significantly longer in museum than in street contexts. We conclude that context can have an important influence on aesthetic appreciation. However, some effects depend also on the style of the artworks and the individual art interests of the viewers. 相似文献
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Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line with the postulates of situated cognition, we show that the experience of art relies on organizing resources present in the environment. Specifically, artworks were found more arousing, positive, interesting and liked more in the museum than in the laboratory. Moreover, participants who saw the exhibition in the museum later recalled more artworks and used spatial layout cues for retrieval. Thus, encountering real art in the museum enhances cognitive and affective processes involved in the appreciation of art and enriches information encoded in long-term memory. 相似文献
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