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Aesthetic Production in Clay Molding: Mental and Dynamically Embodied Action Mediate Between Formal and Material Aspects of Experience 粘土成型中的审美生产:心理和动态体现的行动介于形式和物质体验之间
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-05-31 DOI: 10.1177/02762374241255875
Johannes Wagemann, Sarah Starosky
Aesthetic production, that is, the processing of material with a focus on the experiential and formal qualities of resulting objects and the process itself, encompasses basic dimensions of art, creativity, craft, and design. To explore these dimensions, we propose the Rubicon model of action phases as a general framework. Additionally, we introduce Schiller's aesthetics as an interactive account of formal/mental and material/physical aspects of aesthetic production and derive testable hypotheses from it. First, we expect form- and material-related experience to converge over an aesthetic production task; second, we assume that physical and mental actions occur with different prevalence across the action phases. These hypotheses were strengthened in a quasi-experimental mixed-methods study on a clay-molding task in an educational real-world setting ( N = 30). The results suggest understanding aesthetic production as a dynamic intertwining of object-related and subject-related experience, action, and embodiment, which supports the transdisciplinary significance of aesthetic production for self-development.
美学制作,即对材料进行加工,重点关注加工对象的体验和形式品质以及加工过程本身,涵盖了艺术、创意、工艺和设计的基本维度。为了探索这些方面,我们提出了卢比肯行动阶段模型作为总体框架。此外,我们还介绍了席勒的美学,将其作为美学生产的形式/精神和物质/物理方面的互动说明,并从中得出可检验的假设。首先,我们预计与形式和材料相关的经验会在审美创作任务中趋于一致;其次,我们假定身体和心理行为在不同的行动阶段会以不同的频率出现。这些假设在一项准实验性混合方法研究中得到了加强,该研究针对的是在真实教育环境中的粘土成型任务(N = 30)。研究结果表明,审美创造是与客体相关和与主体相关的体验、行动和体现的动态交织,这支持了审美创造对自我发展的跨学科意义。
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引用次数: 0
Is There a Timeless Truth for Good Arrangement of Paintings in Art Galleries and Museums? An Experimental Investigation of the Barnes Collection 美术馆和博物馆中画作的合理摆放有永恒的真理吗?对巴恩斯收藏的实验研究
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-05-09 DOI: 10.1177/02762374241252108
Katja Thömmes, Ronald Hübner, Gregor U. Hayn-Leichsenring
The Barnes Foundation is a traditional art collection and it is one of a kind as for the assorted hanging of the paintings. The sophisticated wall compositions by Albert Barnes were created as a tool for art education, and they have not been altered since 1951. Today, we are interested whether Barnes’ taste withstood the test of time. We asked participants in an online study to create their own hangings on five of the original gallery walls, and also tested whether beholders are able to identify a missing painting from a selection of suitable alternatives. Results show that Barnes’ motifs are reproduced by a significant number of participants and that experts produce more Barnes-like displays than naive participants. We conclude that Albert Barnes based his choices at least to some degree on universally valid visual aspects that are still understood today, especially by people trained in the visual domain.
巴恩斯基金会是一个传统的艺术收藏馆,其画作的悬挂方式也是独一无二的。阿尔伯特-巴恩斯(Albert Barnes)精心制作的壁画是艺术教育的工具,自 1951 年以来从未改动过。如今,我们想知道巴恩斯的品味是否经得起时间的考验。我们在一项在线研究中要求参与者在原画廊的五面墙壁上创作自己的挂画,并测试了观众是否能够从一系列合适的替代品中找出一幅缺失的画作。结果表明,很多参与者都能再现巴恩斯的主题,而且专家比普通参与者创作出更多类似巴恩斯的作品。我们的结论是,阿尔伯特-巴恩斯的选择至少在一定程度上是基于普遍有效的视觉方面,而这些方面至今仍为人们所理解,尤其是受过视觉领域训练的人。
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引用次数: 0
Aesthetic Dispositions, Aesthetic Engagement, and Meaning in Life 审美倾向、审美参与和人生意义
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-04-22 DOI: 10.1177/02762374241248117
Joshua A. Wilt, Julie J. Exline, Rebecca J. Schlegel, Aleksandra Sherman
Previous research revealed that meaning in life is related positively to psychological engagement with art (i.e., aesthetic engagement), such as interest in art, knowledge about art, awe around art, and supernatural attributions for art experiences. We extended this work by considering the relevance of dispositions toward aesthetics (i.e., aesthetic dispositions), such as openness to experience, creativity in general and in art, and religious belief salience. Specifically, we proposed a conceptual model relating aesthetic dispositions, aesthetic engagement, and meaning in life. We tested hypotheses derived from the model with an online sample of N = 696 artists. Correlational results supported our hypotheses and replicated previous findings. Path analytic results showed that interest in art mediated associations between aesthetic dispositions and meaning in life. The results contribute to empirical work on aesthetic cognitivism, the philosophical stance that art can lead to understanding, by shedding light on factors associated with meaningful interactions with art.
以往的研究表明,人生意义与对艺术的心理参与(即审美参与)呈正相关,如对艺术的兴趣、对艺术的了解、对艺术的敬畏以及对艺术体验的超自然归因。我们对这项工作进行了扩展,考虑了审美倾向(即审美倾向)的相关性,如对经验的开放性、一般和艺术的创造性以及宗教信仰的显著性。具体来说,我们提出了一个关于审美倾向、审美参与和人生意义的概念模型。我们以 N = 696 名艺术家为在线样本,检验了从该模型中得出的假设。相关结果支持了我们的假设,并重复了之前的研究结果。路径分析结果表明,对艺术的兴趣在审美倾向和人生意义之间起到了中介作用。这些结果通过揭示与艺术进行有意义互动的相关因素,为审美认知主义(即艺术可以导致理解的哲学立场)的实证研究做出了贡献。
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引用次数: 0
A Cross-Cultural Comparison of Aesthetic Preferences for Neatly Organized Compositions: Native Chinese- Versus Native Dutch-Speaking Samples 对组织整齐的作品的审美偏好的跨文化比较:中国母语样本与荷兰母语样本的比较
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-04-17 DOI: 10.1177/02762374241245917
Eline Van Geert, Rong Ding, Johan Wagemans
Do aesthetic preferences for images of neatly organized compositions (e.g., images collected on blogs like Things Organized Neatly©) generalize across cultures? In an earlier study, focusing on stimulus and personal properties related to order and complexity, Western participants indicated their preference for one of two simultaneously presented images (100 pairs). In the current study, we compared the data of the native Dutch-speaking participants from this earlier sample ( N = 356) to newly collected data from a native Chinese-speaking sample ( N = 220). Overall, aesthetic preferences were quite similar across cultures. When relating preferences for each sample to ratings of order, complexity, soothingness, and fascination collected from a Western, mainly Dutch-speaking sample, the results hint at a cross-culturally consistent preference for images that Western participants rate as more ordered, but a cross-culturally diverse relation between preferences and complexity.
对整齐划一的图片(例如在博客上收集的图片,如 "整齐划一的事物"©)的审美偏好是否具有跨文化的普遍性?在早先的一项研究中,西方受试者重点研究了与秩序和复杂性相关的刺激和个人属性,他们对同时呈现的两幅图像(100 对)中的一幅图像表示出了偏好。在本研究中,我们将先前样本中以荷兰语为母语的参与者(356 人)的数据与新收集的以汉语为母语的样本(220 人)的数据进行了比较。总体而言,不同文化背景下的审美偏好非常相似。当把每个样本的偏好与从西方(主要是荷兰语样本)收集到的对有序性、复杂性、舒适性和迷人性的评价联系起来时,结果表明,西方参与者对被认为更有序的图像具有跨文化的一致偏好,但在偏好与复杂性之间却存在跨文化的不同关系。
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引用次数: 0
Interdisciplinary Art Learning Through Artistic Digital Game-Based Learning (DGBL): Evaluating Learning Outcomes and Processes Among Science and Engineering Students 通过艺术数字游戏学习(DGBL)进行跨学科艺术学习:评估理工科学生的学习成果和过程
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-04-16 DOI: 10.1177/02762374241246948
SiBo Zhou, Norfarizah Mohd Bakhir
The field of interdisciplinary art education, particularly through digital game-based learning, lacks empirical research on the art learning process and the competencies gained along the process. To address this research gap, this study collects data through experiment and post-experiment interviews from 20 science and engineering college students who participated in a 1-month digital game-based art learning program. The findings reveal three learning process cycles involved during art educational digital gameplay, namely the game action cycle, the experiential learning process cycle, and the game response cycle. Throughout the three process cycles, 29 learning outcomes were identified based on students’ gameplay experiences. These outcomes are then categorized into three themes, including enhanced self-management, enhanced learning experience, and refinement of proprioceptive competencies. Overall, this study highlights the digital learning process in the context of interdisciplinary art education and emphasizes the importance of valuing the outcomes gained from digital game-based learning in art education.
跨学科艺术教育领域,尤其是通过基于数字游戏的学习,缺乏对艺术学习过程和在此过程中获得的能力的实证研究。针对这一研究空白,本研究通过实验和实验后访谈收集了 20 名理工科大学生的数据,他们参加了为期 1 个月的基于数字游戏的艺术学习项目。研究结果揭示了美术教育数字游戏过程中涉及的三个学习过程周期,即游戏行动周期、体验式学习过程周期和游戏反应周期。在这三个过程周期中,根据学生的游戏体验确定了 29 项学习成果。然后,这些成果被归类为三个主题,包括增强自我管理、增强学习体验和完善本体感觉能力。总之,本研究强调了跨学科艺术教育背景下的数字化学习过程,并强调了重视艺术教育中基于数字游戏的学习成果的重要性。
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引用次数: 0
Emotional Responses to Music: The Essential Inclusion of Emotion Adaptability and Situational Context 对音乐的情绪反应:情感适应性和情境背景的重要组成部分
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-04-08 DOI: 10.1177/02762374241237683
Marco Susino, William Forde Thompson, Emery Schubert, Mary Broughton
The link between music and emotion, as articulated from a cognitive perspective, assumes that music carries expressive cues that convey or induce emotional responses in listeners. Studies following this paradigm often investigate how responses converge or diverge among individuals, social groups, and cultures. However, results vary from one study to another, with few satisfactory explanations as to why. We contend that emotional responses to music are adaptable, arising from a conscious and subconscious continuous processing of the overarching situational context and its interaction with psychophysical, cultural, and personal variables. By integrating theory and data from multiple domains, we present the Framework for Adaptable Musical Emotions (FAME), which explains emotional responses to music through the mechanism of emotion adaptability on a continuum of evolutionary to fleeting time frames. FAME represents an advance on models of music and emotion that primarily focus on decoding emotional signals from the sounded music. FAME provides the first basis for predictions of emotional adaptability and situational context and may explain previously observed variability in emotional responses to music, guiding future research, and novel understandings.
从认知角度阐述音乐与情感之间的联系时,假定音乐带有表达性线索,能够传达或诱发听众的情感反应。遵循这一范式的研究通常会调查不同个体、社会群体和文化之间的反应是如何趋同或差异的。然而,每项研究的结果都不尽相同,很少有令人满意的解释。我们认为,对音乐的情绪反应是可适应的,它产生于意识和潜意识对总体情境及其与心理物理、文化和个人变量之间相互作用的持续处理。通过整合来自多个领域的理论和数据,我们提出了 "音乐情感适应性框架"(Framework for Adaptable Musical Emotions,FAME),该框架通过情感适应性机制解释了从进化到转瞬即逝的连续时间框架内对音乐的情感反应。FAME 代表了音乐和情感模型的进步,这些模型主要侧重于解码音乐中的情感信号。FAME为预测情感适应性和情境背景提供了第一个基础,并可以解释之前观察到的对音乐的情感反应的变异性,从而指导未来的研究和新的理解。
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引用次数: 0
Unpacking the Antecedents of Word of Mouth and Electronic Word of Mouth in the Opera Sector: A Multimethodological Study Based on PLS and NCA 歌剧界口碑和电子口碑的前因分析:基于 PLS 和 NCA 的多方法研究
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-04-04 DOI: 10.1177/02762374241245360
Yacine Ouazzani, Haydeé Calderón-García, Berta Tubillejas-Andrés
This article examines the role of epistemic value, and social value on behavioral intentions and the relationship between these three factors as antecedents of word of mouth (WOM) and electronic word of mouth (eWOM) in the opera sector. The effects of these antecedents are investigated using a multimethod approach combining partial least square and necessary condition analysis. A quantitative study was conducted on a sample of 149 operagoers. The results show that epistemic value influences repurchase intentions, while social value does not. Furthermore, epistemic value and social value are positive sufficient and necessary antecedents of WOM, showing relevant results regarding their ultimate role in generating WOM. Similarly, social value is a positive sufficient but not necessary antecedent of eWOM. The findings suggest that cultural managers should emphasize learning experiences regarding the opera, as epistemic value is highly valuable for WOM and the reason for attending another opera.
本文研究了认识价值和社会价值对行为意向的作用,以及这三个因素作为戏曲界口碑(WOM)和电子口碑(eWOM)的前因之间的关系。本研究采用偏最小二乘法和必要条件分析相结合的多方法研究了这些前因的影响。对 149 名戏曲观众进行了定量研究。研究结果表明,认识价值会影响再购买意愿,而社会价值则不会。此外,认识价值和社会价值是 WOM 的充分必要前因,显示了它们在产生 WOM 的最终作用方面的相关结果。同样,社会价值是电子口碑的积极充分但非必要的前因。研究结果表明,文化管理者应重视有关歌剧的学习经验,因为知识价值对 WOM 具有很高的价值,也是人们观看另一场歌剧的原因。
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引用次数: 0
Music Preferences and Their Associations With Uses of Music and Personality Factors and Facets 音乐偏好及其与音乐用途和人格因素及方面的关联
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-03-18 DOI: 10.1177/02762374241239890
Ana Butković, Valnea Žauhar
In this study, we examined the associations between music preferences, uses of music and personality factors and facets. The sample included 449 participants (50% female, M = 23.59, SD = 2.14) who indicated preferences for international and regional music styles that were classified into Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic, and Regional preferences, and filled in the Uses of Music Inventory and IPIP-300 questionnaire. After controlling for age, gender and uses of music, personality significantly added to the prediction of all music preferences, except Energetic and Rhythmic. Personality factors explained additionally from 9% to 21%, and facets from 18% to 34% of the music preference variance, respectively. Openness, as well as some openness facets, emerged as significant predictors for different music preferences. Our results indicate that when trying to explain preferences with personality traits, the personality traits should be measured at the facet level.
在这项研究中,我们探讨了音乐偏好、音乐用途与人格因素和人格特征之间的关联。样本包括 449 名参与者(50% 为女性,M = 23.59,SD = 2.14),他们对国际和地区音乐风格的偏好分为反思和复杂、强烈和反叛、欢快和传统、活力和节奏以及地区偏好,并填写了音乐用途量表和 IPIP-300 问卷。在对年龄、性别和音乐用途进行控制后,除 "活力 "和 "节奏 "外,个性对所有音乐偏好的预测都有显著的加分作用。人格因素分别额外解释了 9% 至 21% 的音乐偏好变异,以及 18% 至 34% 的音乐偏好面。开放性以及一些开放性方面是不同音乐偏好的重要预测因素。我们的研究结果表明,在试图用人格特质来解释偏好时,应在面的层面上测量人格特质。
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引用次数: 0
Bullshit (Sometimes) Makes the Art (Slightly) More Attractive: A Field Study in Gallery-Goers 废话(有时)让艺术(略微)更具吸引力:画廊观众实地研究
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-03-13 DOI: 10.1177/02762374241237981
Arkadiusz Urbanek, Anna Borkowska, Wojciech Milczarski, Jarosław Zagrobelny, Jerzy Luty, Michał Białek
Vague, impressive language used in descriptions (bullshit) is thought to make art seem more profound and valuable to the viewer. We studied the effect during art exhibitions in real-life gallery-goers who saw paintings of four artists, each with either simplified, neutral, or bullshitty description. We crafted a typical description of each painting, which we later manipulated in terms of language. A simplified description was modified to be concrete and simplistic, while a bullshitty one was very abstract and vague. After analyzing over 1500 ratings, we found the expressive language of descriptions had a negligible effect on the perceived quality and monetary value of art ( R2 marginal ≤ 1%). We conclude that, at least for experienced gallery-goers, the description accompanying a painting has little influence, and the art speaks for itself.
人们认为,在描述中使用含糊不清、令人印象深刻的语言(废话)会使艺术品对观众而言显得更深刻、更有价值。我们研究了在艺术展览期间,现实生活中的画廊参观者在看到四位艺术家的画作时产生的效果,每幅画作都有简化、中性或废话式的描述。我们为每幅画精心制作了一个典型的描述,随后对其进行了语言处理。简化的描述被修改得具体而简单,而废话连篇的描述则非常抽象和模糊。在对超过 1500 个评分进行分析后,我们发现描述语言的表现力对艺术品的感知质量和货币价值的影响微乎其微(R2 边际 ≤ 1%)。我们的结论是,至少对于有经验的画廊参观者来说,画作的附带说明影响甚微,艺术本身会说话。
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引用次数: 0
Some Effects of Sex and Culture on Creativity, No Effect of Incubation 性别和文化对创造力的一些影响,孵化无影响
IF 1.5 4区 心理学 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2024-03-07 DOI: 10.1177/02762374231217638
Nastaran Kazemian, Khatereh Borhani, Soroosh Golbabaei, Julia F. Christensen
Results remain mixed regarding the effects of incubation tasks on divergent thinking, a type of creativity, generally assessed via the Unusual Uses Task (UUT). Using a within-subjects design, we compared 64 participants’ performance on the UUT, after four different incubation tasks: copy a simple painting, copy a complex painting, 0-back-task, and rest. We hypothesized that an arts-related activity during incubation (here: copy a painting) would boost subsequent creativity. Five different creativity scores were computed from the raw UUT data, and we provide a step-by-step guide for how to compute these: fluency, flexibility, originality, subjective creativity, and usefulness. Creativity was only modulated by sex; women outperformed men on creative fluency. No other variables, nor the incubations, modulated any of participants’ creativity scores. A within-group comparison showed that the unusual uses of our all-Iranian participants were more useful than unique, echoing previous work suggesting differences between Eastern and Western conceptions of creativity.
关于培养任务对发散思维(一种创造力,通常通过 "不寻常用途任务"(UUT)进行评估)的影响,研究结果仍然不一。我们采用被试内设计,比较了 64 名参与者在完成四项不同的培养任务(临摹一幅简单的画、临摹一幅复杂的画、0-back-task 和休息)后在 UUT 上的表现。我们假设,在熏陶期间进行与艺术相关的活动(这里指的是临摹一幅画)会提高随后的创造力。我们根据 UUT 原始数据计算出了五种不同的创造力得分,并提供了计算这些得分的步骤指南:流畅性、灵活性、独创性、主观创造力和实用性。创造力只受性别影响;女性在创造力的流畅性方面优于男性。其他变量和 "孵化 "均不影响参与者的创造力得分。组内比较显示,我们所有伊朗参与者的不寻常用途更有用而非独特,这与之前的研究结果一致,表明东西方对创造力的概念存在差异。
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引用次数: 0
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Empirical Studies of the Arts
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