1. NCCU Academic Hub
  2. 學術產出
  3. College of Science
  4. Theses
  5. Item

學術產出-Theses

Article View/Open

Publication Export

Google ScholarTM

政大圖書館

Citation Infomation

  • No doi shows Citation Infomation
題名 藝術欣賞歷程中認知涉入對於美感偏好與情緒反應之影響
The effect of cognitive involvement on aesthetic preference and emotion in art appreciation
作者 陳佳君
Chen, Chia Chun
貢獻者 黃淑麗
Huang, Shwu Lih
陳佳君
Chen, Chia Chun
關鍵詞 美感歷程
美感經驗
認知涉入
美感情緒
美感偏好
藝術欣賞二階段模型
流暢性理論
情緒的評估理論
aesthetic process
aesthetic experience
cognitive involvement
aesthetic emotion
aesthetic preference
two-stage model
fluency theory
appraisal model
日期 2013
上傳時間 6-Aug-2014 11:46:53 (UTC+8)
摘要 藝術欣賞二階段模型所發現的第二階段美感提升現象，若根據流暢性理論加以解釋，為單純曝光造成流暢性提升而導致的結果，未涉及認知處理歷程的影響，然而情緒評估理論以及Leder等人（2004）的美感經驗與評價歷程神經模型，都強調美感經驗為認知與情感的交互作用。針對上述兩類不同的理論觀點，本研究的目的在於探討認知涉入在美感歷程中的重要性，同時亦嘗試瞭解美感經驗中認知與情緒的關係。本研究讓參與者欣賞不同時代、流派與國家的具象藝術畫作，共分成三個實驗。實驗一收集美感相關情緒詞彙，發展美感情緒量表；實驗二與實驗三延伸Locher等人（2007）之實驗設計，分別收集美感偏好與美感情緒的資料，包含顯性與隱性指標，欲從美感提升現象中檢驗認知涉入對兩種美感歷程產物的影響力。實驗二關心美感偏好隨時間的變化，結果顯示認知涉入有助於偏好的提升，而隱性偏好亦有相似的趨勢；實驗三則發現美感情緒並沒有隨呈現時間增加而提升，而認知涉入的影響力也較不明顯，臉部EMG測量則未能反映出隱性美感情緒。本研究也發現，國畫較西畫更顯著地出現美感偏好或情緒的提升現象且較受認知涉入影響，此外，主觀偏好與不偏好的西畫在美感偏好與正向情緒類別之結果中，皆有類似適應的效果，其中主觀偏好畫作隨時間增長而正向情緒減少、負向情緒增加。綜合而言，本研究結果支持認知涉入為美感偏好提升之要素，但是無法確認認知與情緒兩者之間的互動關係，此外，藝術欣賞的第二階段不只有美感提升的現象，亦有美感下降的現象。
The increase of aesthetic preference over viewing time was found in the study of the two-stage model of art appreciation. This phenomenon could be interpreted by mere exposure effect on improvement of fluency, not involving the influence from the cognitive processes. However, some theories (Silvia, 2011; Leder et al., 2004) emphasized the interaction between cognition and emotion in aesthetic experience. Based on these two kinds of theoretical perspective, the purpose of this study is to explore the role of cognitive involvement in aesthetic processes, and to understand the relationship between cognition and emotion in aesthetic experience. There are three experiments in this study, using the figurative art paintings from different era, genre and countries as the material. In Experiment 1, the emotional adjectives were collected to develop the scale of aesthetic emotion. In Experiment 2 and 3, the effects of cognitive involvement on aesthetic preference and emotion were tested, respectively. We extended the experiment design from Locher et al. (2007) to manipulate the degree of cognitive involvement additionally, with both the explicit and implicit indexes measured. Overall, the results showed that cognitive involvement helped the increase of preference, but not of emotion, because there was no increase of emotion founded. In addition, the effect of cognitive involvement in Chinese paintings was more obvious than that in West paintings. We also found that there could be adaptation effect in aesthetic process. In conclusion, the importance of cognitive involvement in preference increase was supported. But we cannot confirm the interaction between cognition and emotion. In addition, not only the increase of aesthetic preference and emotion, but also the decrease of them could be found in the second stage of art appreciation.
參考文獻 Aaker, D.A., Bagozzi, R.P., Carman, J.M., & MacLachlan, J.M. (1980). On using response latency to measure preference. Journal of Marketing Research 17, 237–244.
Antal, A., Varga, E. T., Nitsche, M. A., Chadaide, Z., Paulus, W., Kovacs, G., & Vidnyánszky, Z. (2004). Direct current stimulation over MT1/V5 modulates motion aftereffect in humans. Neuroreport, 15, 2491–2494.
Armstrong, T., & Detweiler-Bedell, B. (2008). Beauty as an emotion: The exhilarating prospect of mastering a challenging world. Review of General Psychology, 12,305-329.
Arnheim, R. (1974). Art and visual perception: The new version. Berkeley: University of California. Attneave, F. (1959). Applications of information theory to psychology: A summary of basic concepts, methods, and results.New York: Holt-Dryden.
Augustin, M. D., & Leder, H. (2006). Art expertise: A study of concepts and conceptual spaces. Psychology Science, 48, 135-156.
Bar, M., & Biederman, I. (1998). Subliminal visual priming. Psychological Science, 9, 464–469.
Bargh, J. A. (1989). Conditional automaticity: Varieties of automatic influence in social perception and cognition. In J. S. Uleman & J. A. Bargh (Eds.), Unintended thought (pp. 3–51). New York, NY: Guilford Press.
Bassili, J. N. (1996). The how and why of response latency measurement in telephone surveys. In: Schwarz, N., Sudman, S. (Eds.), Answering Questions. Jossey-Bass Publishers, San Francisco.
Berlyne, D. E. (1960). Conflict, arousal and curiosity. New York: McGraw-Hill.
Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
Birkhoff, G. (1933). Aesthetic measure. Cambridge, MA: Harvard University.
Bradley, M. M., Codispoti, M., Cuthbert, B. N., & Lang, P. J. (2001). Emotion and motivation: I. Defensive and appetitive reactions in picture processing. Emotion, 1, 276-298. Carbon, C. C. (2010). The cycle of preference: Long-term dynamics of aesthetic appreciation. Acta Psychologica, 134, 233-244. Carbon, C. C. (2011). Cognitive mechanisms for explaining dynamics of aesthetic appreciation. i. Perception, 2(7), 708-719.
Cavanagh, P. (2005). The artist as neuroscientist. Nature, 434, 301-307. Cela-Conde, C. J., Marty, G., Maestú, F., Ortiz, T., Munar, E., Fernández, A. , Roca, M., Rosselló, J. & Quesney, F. (2004). Activation of the prefrontal cortex in the human visual aesthetic perception. Proceedings of the National Academy of Sciences of the United States of America, 101, 6321-6325. Chang, E. (2006). Interactive experiences and contextual learning in museums. Studies in Art Education, 47, 170-186.
Chatterjee, A. (2002). Universal and relative aesthetics: A framework from cognitive neuroscience. International Association of Empirical Aesthetics, Takarazuka, Japan.
Chatterjee, A. (2004). Prospects for a cognitive neuroscience of visual aesthetics. Bulletin of Psychology and the Arts, 4, 55–59.
Chatterjee, A. (2010). Neuroaesthetics: A Coming of Age Story. Journal of Cognitive Neuroscience, 23, 53-62. Chatterjee, A. (2011).Neuroaesthetics: Growing pains of a new discipline. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains,
and Experience (pp.299-317). New York: Oxford University.
Chen, A. H., Zhou, Y., Gong, H. Q., & Liang, P. J. (2005). Luminance adaptation increased the contrast sensitivity of retinal ganglion cells. Neuroreport, 16, 371–375. Conway, B. R., & Livingstone, M. S. (2007). Perspectives on science and art. Current opinion in neurobiology, 17, 476-482.
Cutting, J. E. (2003). Gustave Caillebotte, French Impressionism, and mere exposure. Psychonomic Bulletin & Review, 10, 319–343.
Dashiell, J. F. (1937). Affective value distances as determinants of esthetic judgment-times. American Journal of Psychology, 50, 57–67. Demir, E., Desmet, P. M. A., & Hekkert, P. (2009). Appraisal patterns of emotions in human-product interaction. International Journal of Design, 3, 41-51.
Dissanayake, E. (2008). The arts after Darwin: does art have an origin and adaptive function? In World art studies: exploring concepts and approaches. (pp.241-263). Amsterdam: Valiz.
Ekman, P. (1972). Universal and cultural differences in facial expression of emotion. In J. R. Cole (Ed.), Nebraska Symposium on Motivation,1971 (pp. 207–283). Lincoln: Nebraska University Press.
Ekman, P. (1999). Basic Emotions. In Dalgleish, T ; Power, M, Handbook of Cognition and Emotion, Sussex, UK: John Wiley & Sons. Ekman, P., Davidson, R. J., & Friesen, W. V. (1990). The Duchenne smile: Emotional expression and brain physiology: II. Journal of personality and social psychology, 58(2), 342-353. Elkins, J. (2004). Pictures & tears: A history of people who have cried in front of paintings. Psychology Press.
Eysenck, H. J. (1942). The experimental study of the ‘Good Gestalt’- A new approach.
Psychological Review, 49, 344-363.
Fechner, G. (1860). Elemente der Psychophysik. Leipzig, Germany: Breitkopf and Hartrtel.
Fechner, G. T. (1876). Vorschule der Ästhetik [Elements of aesthetics]. Leipzig, Germany: Breitkopf & Härtel. Festinger, L. (1957). A theory of cognitive dissonance. Stanford, CA: Stanford University Press. Fridlund, A. J., & Cacioppo, J. T. (1986). Guidelines for human electromyographic research. Psychophysiology, 23, 567-589. Gazzaniga, M. S. (2008). Human: The Science Behind What Makes Us Unique. New York: Harper Perennial. Gerger, G., Leder, H., Tinio, P. P., & Schacht, A. (2011). Faces versus patterns: Exploring aesthetic reactions using facial EMG. Psychology of Aesthetics, Creativity, and the Arts, 5, 241-250.
Gombrich, E. H. (1960). Art and illusion. Princeton, NJ: Princeton University.
Gombrich, E. H. (1995). The story of art (16th ed.). London: Phaidon. Grammer, K., Fink, B., Møller, AP, & Thornhill, R. (2003). Darwinian aesthetics: sexual selection and the biology of beauty. Biological Review, 78, 385-407.
Greenwald, A. G., McGhee, D., & Schwartz, J. L. K. (1998). Measuring individual differences in implicit cognition: The implicit association test. Journal of Personality and Social Psychology, 6, 1464–1480. Hayn-Leichsenring, G. U., Kloth, N., Schweinberger, S. R., & Redies, C. (2013). Adaptation effects to attractiveness of face photographs and art portraits are domain-specific. i-Perception, 4, 303-316.
Heekeren, H. R., Marrett, S., Bandettini, P. A., & Ungerleider, L. G. (2004). A general mechanism for perceptual decision-making in the human brain, Nature,
431, 859–862. Heider, F. (1958). The psychology of interpersonal relations. New York: Wiley.
Herrington, J. D., Mohanty, A., Koven, N. S., Fisher, J. E., Stewart, J. L., Banich, M. T., Webb, A. G., Miller, G. A. and Heller, W. (2005). Emotion-modulated performance and activity in left dorsolateral prefrontal cortex, Emotion, 5, 200–207.
Höfel, L., & Jacobsen, T. (2007). Electrophysiological indices of processing aesthetics: Spontaneous or intentional processes? International Journal of Psychophysiology, 65, 20–31.
Hull, C. L. (1952). A behavior system. New Haven, CT: Yale University.
Humphrey, D. (1997). Preferences in symmetries and symmetries in drawings: Asymmetries between ages and sexes. Empirical Studies of the Arts, 15, 41–60.
Ingarden, R. (1985). Selected papers in aesthetics (P. J. McCormick, Ed.). Washington, DC: Catholic University of America. Kawabata, H., & Zeki, S. (2004). Neural correlates of beauty. Journal of neurophysiology, 91, 1699-1705.
Kubovy, M. (2000). Visual aesthetics. In A. E. Kazdin (Ed.), Encyclopedia of psychology (Vol. 8, pp. 188–193). New York: Oxford University. Kuroso, M., & Kashimura, K. (1995). Apparent usability vs. inherent usability, CHI’95 Conference Companion. In Conference on Human Factors in Computing Systems, Denver, Colorado (pp. 292-293).
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (1999). International affective picture system (IAPS): Instruction manual and affective ratings. Technical Report A-4. Gainesville, FL. The Center for Research in Psychophysiology, University of Florid.
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (2001). International affective picture
system (IAPS): Instruction manual and affective ratings. Technical Report A-5. Gainesville, FL. The Center for Research in Psychophysiology, University of Florida
Lang, P.J., Bradley, M.M., & Cuthbert, B.N. (2005). International Affective Picture System (IAPS): Affective rating of picture and instruction manual. Technical Report no. A-6. University of Florida, Gainesville, FL.
Lang, P.J., Bradley, M.M., & Cuthbert, B.N. (2008). International Affective Picture System (IAPS): Affective rating of picture and instruction manual. Technical Report no. A-8. University of Florida, Gainesville, FL.
Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489–508. Lishner, D. A., Cooter, A. B., & Zald, D. H. (2008). Rapid emotional contagion and expressive congruence under strong test conditions. Journal of Nonverbal Behavior, 32, 225-239.
Locher, P. and Nagy, Y. (1996). Vision spontaneously establishes the percept of pictorial Balance, Empirical Studies of the Arts, 14, 17–31. Locher, P. J. (2011). Empirical investigation of an aesthetic experience with art. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.163-188). New York: Oxford University.
Locher, P. J., Smith, J. K., & Smith, J. F. (2001). The influence of presentation format and viewer training in the visual arts on the perception of pictorial and aesthetic qualities of paintings. Perception, 30, 449-465. Locher, P., Krupinski, E. A., Mello-Thoms, C., & Nodine, C. F. (2007). Visual interest in pictorial art during an aesthetic experience. Spatial Vision, 21, 55-77. Makin, A. D. J., Pecchinenda, A., & Bertamini, M. (2012a). Implicit affective
evaluation of visual symmetry. Emotion, 12, 1021-1030. Makin, A., Pecchinenda, A., & Bertamini, M. (2012b). Grouping by closure influences subjective regularity and implicit preference. i-Perception, 3, 519-527.
Mastandrea, S., Bartoli, G., & Bove, G. (2007). Learning through ancient art and experiencing emotions with contemporary art: comparing visits in two different museums. Empirical Studies of the Arts, 25, 173-191.
Mastandrea, S., Bartoli, G., & Bove, G. (2009). Preferences for ancient and modern art meuseums: visitor experiences and personality characteristics. Psychology of Aesthetics, Creativity, and the Arts, 3, 164-173.
Mastandrea, S., Bartoli, G., & Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity and the Arts, 5, 126–134.
Merleau-Ponty,M. (1964). The primacy of perception, and other essays on phenomenological psychology, the philosophy of art, history, and politics. Chicago: Northwestern University. Nadal, M., Munar, E., Capo, M. A., Rossello, J., & Cela-Conde, C. J. (2008). Towards a framework for the study of the neural correlates of aesthetic preference. Spatial Vision, 21, 379-396. Nodine, C. F., Locher, P. J., & Krupinski, E. A. (1993). The role of formal art training on perception and aesthetic judgment of art compositions. Leonardo, 26, 219-227. O`Doherty, J., Kringelbach, M. L., Rolls, E. T., Hornak, J., & Andrews, C. (2001). Abstract reward and punishment representations in the human orbitofrontal cortex. Nature neuroscience, 4, 95-102.
Osgood, C., Suci, G. & Tannenbaum, P. (1957). The measurement of meaning. Urbana,
IL: University of Illinois press. Ostrom, T. M., & Gannon, K. M. (1996). Exemplar generation: assessing how respondents give meaning to rating scales. In: Schwarz, N., Sudman, S. (Eds.), Answering Questions. Jossey-Bass Publishers, San Francisco.
Parsons, M. J. (1987). How we understand art: a cognitive developmental account of aesthetic experience. New York: Cambridge University. Principe, C. P., & Langlois, J. H. (2011). Faces differing in attractiveness elicit corresponding affective responses. Cognition and Emotion, 25, 140-148. Ramachandran, V. S., & Hirstein, W. (1999). The science of art: A neurological theory of aesthetic experience. Journal of consciousness Studies, 6, 15-51. Rasche, C., & Koch, C. (2002). Recognizing the gist of a visual scene: possible perceptual and neural mechanisms. Neurocomputing, 44, 979-984. Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver`s processing experience?.Personality and social psychology review, 8, 364-382.
Reber, R.,Winkielman, P., & Schwarz, N. (1998). Effects of perceptual fluency on affective judgments. Psychological Science, 9, 45–48. Russell, P. A., & George, D. A. (1990). Relationships between aesthetic response scales applied to paintings. Empirical Studies of the Arts, 8, 15-30. Shimamura, A. P. (2011). Toward a science of aesthetics: Issues and ideas. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.3-28). New York: Oxford University. Silvia, P. J., & Brown, E. M. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts, 1, 100-106. Silvia, P. L. (2011).Human emotions and aesthetic experience: An overview of
empirical aesthetics. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.250-275). New York: Oxford University.
Sko, M., & Vartanian, O. (Eds.) (2009). Neuroaesthetics. Amityville, NY: Baywood Publishing Co.
Skurnik, I., Schwarz, N., & Winkielman, P. (2000). Drawing inferences from feelings: The role of naive beliefs. In H. Bless&J. P. Forgas (Eds.), The message within: The role of subjective experience in social cognition and behavior (pp. 162–175). Philadelphia: Psychology.
Smith, J. K., & Smith, L. F. (2001). Spending time on art, Empirical Studies of the Arts, 19, 229–236. Smith, J. K., & Smith, L. F. (2003). Origins of Impressionism: Relating visitor behavior to perceived learning. Bulletin of Psychology and the Arts, 4, 80-85. Smith, L. F., Bousquet, S. G., Chang, G., & Smith, J. K. (2006). Effects of time and information on perception of art. Empirical Studies of the Arts, 24, 229-242.
Solso, R. L. (1996). Cognition and the visual arts. Cambridge, MA: MIT.
Stocke, V. (2003). Measuring Information Accessibility and Predicting Response-Effects: The Validity of Response-Certainties and Response-Latencies, Sonderforschungsbereich, 504, 03-33. University of Mannheim.
Symons, D. (1979). The evolution of human sexuality. New York: Oxford University. Tangney, J. P., & Dearing, R. L. (2003). Shame and guilt. New York: Guilford. Tassinary, L. G., Cacioppo, J. T., & Vanman, E. J. (2007). The Skeletomotor System: Surface Electromyography. In J. T. Cacioppo, L. G. Tassinary & G. Berntson (Ed.). Handbook of psychophysiology (p.267-299). Cambridge University Press.
Tatarkiewicz, W. (1970). History of aesthetics. The Hague, The Netherlands: Mouton.
Thomas, M., & Morwitz, V. (2005). Penny Wise and Pound Foolish: The Left‐Digit Effect in Price Cognition. Journal of Consumer Research, 32, 54-64. Tractinsky, N., Cokhavi, A., Kirschenbaum, M., & Sharfi, T. (2006). Evaluating the consistency of immediate aesthetic perceptions of web pages. International Journal of Human-Computer Studies, 64, 1071-1083. Tracy, J. L., & Robins, R. W. (2007). Emerging insights into the nature and function of pride. Current Directions in Psychological Science, 16, 147-150. Tracy, J. L., Robins, R. W., & Tangney, J. P. (Eds.). (2007). The self-conscious emotions: Theory and research (pp.3-20). New York: Guilford.
Tyebjee, T. T. (1979). Response latency: a new measure for scaling brand preference. Journal of Marketing Research, 16, 96–101.
Vartanian, O., & Goel, V. (2004). Neuroanatomical correlates of aesthetic preference for paintings, Neuroreport, 15, 893–897. Wang, X., Huang, Y., Ma, Q., & Li, N. (2012). Event-related potential P2 correlates of implicit aesthetic experience. Neuroreport, 23, 862-866. Weyers, P., Mühlberger, A., Hefele, C., & Pauli, P. (2006). Electromyographic responses to static and dynamic avatar emotional facial expressions.Psychophysiology, 43, 450-453.
Winkielman, P., & Cacioppo, J. T. (2001). Mind at ease puts a smile on the face: Psychophysiological evidence that processing facilitation leads to positive affect. Journal of Personality and Social Psychology, 81, 989–1000.
Winkielman, P., & Fazendeiro, T. (2003). Effects of conceptual fluency on memory and liking. Manuscript in preparation. Woods, W. A. (1991). Parameters of aesthetic objects: applied aesthetics. Empirical Studies of the Arts, 9, 105-114. Zeki, S. (1999). Art and the brain. Journal of Consciousness Studies, 6, 76-96.
Zeki, S. (1999). Inner vision: an exploration of art and the brain (p.224). New York: Oxford University.
描述 碩士
國立政治大學
心理學研究所
100752012
102
資料來源 http://thesis.lib.nccu.edu.tw/record/#G1007520121
資料類型 thesis
dc.contributor.advisor 黃淑麗zh_TW
dc.contributor.advisor Huang, Shwu Lihen_US
dc.contributor.author (Authors) 陳佳君zh_TW
dc.contributor.author (Authors) Chen, Chia Chunen_US
dc.creator (作者) 陳佳君zh_TW
dc.creator (作者) Chen, Chia Chunen_US
dc.date (日期) 2013en_US
dc.date.accessioned 6-Aug-2014 11:46:53 (UTC+8)-
dc.date.available 6-Aug-2014 11:46:53 (UTC+8)-
dc.date.issued (上傳時間) 6-Aug-2014 11:46:53 (UTC+8)-
dc.identifier (Other Identifiers) G1007520121en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/68265-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 心理學研究所zh_TW
dc.description (描述) 100752012zh_TW
dc.description (描述) 102zh_TW
dc.description.abstract (摘要) 藝術欣賞二階段模型所發現的第二階段美感提升現象，若根據流暢性理論加以解釋，為單純曝光造成流暢性提升而導致的結果，未涉及認知處理歷程的影響，然而情緒評估理論以及Leder等人（2004）的美感經驗與評價歷程神經模型，都強調美感經驗為認知與情感的交互作用。針對上述兩類不同的理論觀點，本研究的目的在於探討認知涉入在美感歷程中的重要性，同時亦嘗試瞭解美感經驗中認知與情緒的關係。本研究讓參與者欣賞不同時代、流派與國家的具象藝術畫作，共分成三個實驗。實驗一收集美感相關情緒詞彙，發展美感情緒量表；實驗二與實驗三延伸Locher等人（2007）之實驗設計，分別收集美感偏好與美感情緒的資料，包含顯性與隱性指標，欲從美感提升現象中檢驗認知涉入對兩種美感歷程產物的影響力。實驗二關心美感偏好隨時間的變化，結果顯示認知涉入有助於偏好的提升，而隱性偏好亦有相似的趨勢；實驗三則發現美感情緒並沒有隨呈現時間增加而提升，而認知涉入的影響力也較不明顯，臉部EMG測量則未能反映出隱性美感情緒。本研究也發現，國畫較西畫更顯著地出現美感偏好或情緒的提升現象且較受認知涉入影響，此外，主觀偏好與不偏好的西畫在美感偏好與正向情緒類別之結果中，皆有類似適應的效果，其中主觀偏好畫作隨時間增長而正向情緒減少、負向情緒增加。綜合而言，本研究結果支持認知涉入為美感偏好提升之要素，但是無法確認認知與情緒兩者之間的互動關係，此外，藝術欣賞的第二階段不只有美感提升的現象，亦有美感下降的現象。zh_TW
dc.description.abstract (摘要) The increase of aesthetic preference over viewing time was found in the study of the two-stage model of art appreciation. This phenomenon could be interpreted by mere exposure effect on improvement of fluency, not involving the influence from the cognitive processes. However, some theories (Silvia, 2011; Leder et al., 2004) emphasized the interaction between cognition and emotion in aesthetic experience. Based on these two kinds of theoretical perspective, the purpose of this study is to explore the role of cognitive involvement in aesthetic processes, and to understand the relationship between cognition and emotion in aesthetic experience. There are three experiments in this study, using the figurative art paintings from different era, genre and countries as the material. In Experiment 1, the emotional adjectives were collected to develop the scale of aesthetic emotion. In Experiment 2 and 3, the effects of cognitive involvement on aesthetic preference and emotion were tested, respectively. We extended the experiment design from Locher et al. (2007) to manipulate the degree of cognitive involvement additionally, with both the explicit and implicit indexes measured. Overall, the results showed that cognitive involvement helped the increase of preference, but not of emotion, because there was no increase of emotion founded. In addition, the effect of cognitive involvement in Chinese paintings was more obvious than that in West paintings. We also found that there could be adaptation effect in aesthetic process. In conclusion, the importance of cognitive involvement in preference increase was supported. But we cannot confirm the interaction between cognition and emotion. In addition, not only the increase of aesthetic preference and emotion, but also the decrease of them could be found in the second stage of art appreciation.en_US
dc.description.tableofcontents 第一章 緒論 1
第一節 不同學科領域中的美學 3
一、哲學觀點的演變 4
二、實徵取向 7
三、小結 9
第二節 美感經驗中的情緒 10
一、Berlyne的心理物理模型 11
二、流暢性理論 12
三、情緒的評估理論 14
四、小結 17
第三節 藝術欣賞的二階段模型 18
第四節 神經美學 22
一、Chatterjee的美感偏好視覺歷程模型 22
二、Leder等人的美感經驗與評價的心理歷程模型 24
三、新美感偏好神經關連架構 25
四、小結 27
第五節 美學研究使用的測量方法 29
一、美感偏好 30
二、美感情緒 33
三、小結 36
第二章 研究目的與架構 37
第三章 研究方法與結果 41
第一節 實驗一：美感相關情緒詞收集 41
一、實驗方法 41
二、實驗結果 44
三、實驗討論 46
第二節 實驗二：認知涉入對美感偏好的影響 48
一、實驗方法 48
二、實驗結果 52
三、實驗討論 57
第三節 實驗三：認知涉入對美感情緒的影響 59
一、實驗方法 59
二、實驗結果 62
三、實驗討論 75
第四章 綜合討論 79
第一節：認知涉入對於美感偏好的影響 79
第二節：認知涉入對於美感情緒的影響 81
第三節：美感偏好與情緒的提升或下降現象 84
第四節：國畫的特殊性 85
第五節：研究結果在美學理論上的意涵 86
第六節：研究貢獻、限制與未來研究發展 87
第五章 結論 90
參考文獻 91
附錄一 實驗一畫作材料明細 102
附錄二 實驗一畫作材料圖示與感受度結果 105
附錄三 感興趣與興奮之情緒正負向性 107
附錄四 實驗二時間的單純主要效果之統計數據 108
附錄五 實驗二畫作在長或短呈現時間下之平均數與改變 109
附錄六 實驗三美感情緒量表 110
附錄七 實驗三時間的單純主要效果之統計數據 112
附錄八 實驗三臉部EMG時間的單純主要效果之統計數據 119
附錄九 實驗二指導語 121
附錄十 實驗三指導語 124		zh_TW
dc.format.extent 3164227 bytes-
dc.format.mimetype application/pdf-
dc.language.iso en_US-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G1007520121en_US
dc.subject (關鍵詞) 美感歷程zh_TW
dc.subject (關鍵詞) 美感經驗zh_TW
dc.subject (關鍵詞) 認知涉入zh_TW
dc.subject (關鍵詞) 美感情緒zh_TW
dc.subject (關鍵詞) 美感偏好zh_TW
dc.subject (關鍵詞) 藝術欣賞二階段模型zh_TW
dc.subject (關鍵詞) 流暢性理論zh_TW
dc.subject (關鍵詞) 情緒的評估理論zh_TW
dc.subject (關鍵詞) aesthetic processen_US
dc.subject (關鍵詞) aesthetic experienceen_US
dc.subject (關鍵詞) cognitive involvementen_US
dc.subject (關鍵詞) aesthetic emotionen_US
dc.subject (關鍵詞) aesthetic preferenceen_US
dc.subject (關鍵詞) two-stage modelen_US
dc.subject (關鍵詞) fluency theoryen_US
dc.subject (關鍵詞) appraisal modelen_US
dc.title (題名) 藝術欣賞歷程中認知涉入對於美感偏好與情緒反應之影響zh_TW
dc.title (題名) The effect of cognitive involvement on aesthetic preference and emotion in art appreciationen_US
dc.type (資料類型) thesisen
dc.relation.reference (參考文獻) Aaker, D.A., Bagozzi, R.P., Carman, J.M., & MacLachlan, J.M. (1980). On using response latency to measure preference. Journal of Marketing Research 17, 237–244.
Antal, A., Varga, E. T., Nitsche, M. A., Chadaide, Z., Paulus, W., Kovacs, G., & Vidnyánszky, Z. (2004). Direct current stimulation over MT1/V5 modulates motion aftereffect in humans. Neuroreport, 15, 2491–2494.
Armstrong, T., & Detweiler-Bedell, B. (2008). Beauty as an emotion: The exhilarating prospect of mastering a challenging world. Review of General Psychology, 12,305-329.
Arnheim, R. (1974). Art and visual perception: The new version. Berkeley: University of California. Attneave, F. (1959). Applications of information theory to psychology: A summary of basic concepts, methods, and results.New York: Holt-Dryden.
Augustin, M. D., & Leder, H. (2006). Art expertise: A study of concepts and conceptual spaces. Psychology Science, 48, 135-156.
Bar, M., & Biederman, I. (1998). Subliminal visual priming. Psychological Science, 9, 464–469.
Bargh, J. A. (1989). Conditional automaticity: Varieties of automatic influence in social perception and cognition. In J. S. Uleman & J. A. Bargh (Eds.), Unintended thought (pp. 3–51). New York, NY: Guilford Press.
Bassili, J. N. (1996). The how and why of response latency measurement in telephone surveys. In: Schwarz, N., Sudman, S. (Eds.), Answering Questions. Jossey-Bass Publishers, San Francisco.
Berlyne, D. E. (1960). Conflict, arousal and curiosity. New York: McGraw-Hill.
Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
Birkhoff, G. (1933). Aesthetic measure. Cambridge, MA: Harvard University.
Bradley, M. M., Codispoti, M., Cuthbert, B. N., & Lang, P. J. (2001). Emotion and motivation: I. Defensive and appetitive reactions in picture processing. Emotion, 1, 276-298. Carbon, C. C. (2010). The cycle of preference: Long-term dynamics of aesthetic appreciation. Acta Psychologica, 134, 233-244. Carbon, C. C. (2011). Cognitive mechanisms for explaining dynamics of aesthetic appreciation. i. Perception, 2(7), 708-719.
Cavanagh, P. (2005). The artist as neuroscientist. Nature, 434, 301-307. Cela-Conde, C. J., Marty, G., Maestú, F., Ortiz, T., Munar, E., Fernández, A. , Roca, M., Rosselló, J. & Quesney, F. (2004). Activation of the prefrontal cortex in the human visual aesthetic perception. Proceedings of the National Academy of Sciences of the United States of America, 101, 6321-6325. Chang, E. (2006). Interactive experiences and contextual learning in museums. Studies in Art Education, 47, 170-186.
Chatterjee, A. (2002). Universal and relative aesthetics: A framework from cognitive neuroscience. International Association of Empirical Aesthetics, Takarazuka, Japan.
Chatterjee, A. (2004). Prospects for a cognitive neuroscience of visual aesthetics. Bulletin of Psychology and the Arts, 4, 55–59.
Chatterjee, A. (2010). Neuroaesthetics: A Coming of Age Story. Journal of Cognitive Neuroscience, 23, 53-62. Chatterjee, A. (2011).Neuroaesthetics: Growing pains of a new discipline. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains,
and Experience (pp.299-317). New York: Oxford University.
Chen, A. H., Zhou, Y., Gong, H. Q., & Liang, P. J. (2005). Luminance adaptation increased the contrast sensitivity of retinal ganglion cells. Neuroreport, 16, 371–375. Conway, B. R., & Livingstone, M. S. (2007). Perspectives on science and art. Current opinion in neurobiology, 17, 476-482.
Cutting, J. E. (2003). Gustave Caillebotte, French Impressionism, and mere exposure. Psychonomic Bulletin & Review, 10, 319–343.
Dashiell, J. F. (1937). Affective value distances as determinants of esthetic judgment-times. American Journal of Psychology, 50, 57–67. Demir, E., Desmet, P. M. A., & Hekkert, P. (2009). Appraisal patterns of emotions in human-product interaction. International Journal of Design, 3, 41-51.
Dissanayake, E. (2008). The arts after Darwin: does art have an origin and adaptive function? In World art studies: exploring concepts and approaches. (pp.241-263). Amsterdam: Valiz.
Ekman, P. (1972). Universal and cultural differences in facial expression of emotion. In J. R. Cole (Ed.), Nebraska Symposium on Motivation,1971 (pp. 207–283). Lincoln: Nebraska University Press.
Ekman, P. (1999). Basic Emotions. In Dalgleish, T ; Power, M, Handbook of Cognition and Emotion, Sussex, UK: John Wiley & Sons. Ekman, P., Davidson, R. J., & Friesen, W. V. (1990). The Duchenne smile: Emotional expression and brain physiology: II. Journal of personality and social psychology, 58(2), 342-353. Elkins, J. (2004). Pictures & tears: A history of people who have cried in front of paintings. Psychology Press.
Eysenck, H. J. (1942). The experimental study of the ‘Good Gestalt’- A new approach.
Psychological Review, 49, 344-363.
Fechner, G. (1860). Elemente der Psychophysik. Leipzig, Germany: Breitkopf and Hartrtel.
Fechner, G. T. (1876). Vorschule der Ästhetik [Elements of aesthetics]. Leipzig, Germany: Breitkopf & Härtel. Festinger, L. (1957). A theory of cognitive dissonance. Stanford, CA: Stanford University Press. Fridlund, A. J., & Cacioppo, J. T. (1986). Guidelines for human electromyographic research. Psychophysiology, 23, 567-589. Gazzaniga, M. S. (2008). Human: The Science Behind What Makes Us Unique. New York: Harper Perennial. Gerger, G., Leder, H., Tinio, P. P., & Schacht, A. (2011). Faces versus patterns: Exploring aesthetic reactions using facial EMG. Psychology of Aesthetics, Creativity, and the Arts, 5, 241-250.
Gombrich, E. H. (1960). Art and illusion. Princeton, NJ: Princeton University.
Gombrich, E. H. (1995). The story of art (16th ed.). London: Phaidon. Grammer, K., Fink, B., Møller, AP, & Thornhill, R. (2003). Darwinian aesthetics: sexual selection and the biology of beauty. Biological Review, 78, 385-407.
Greenwald, A. G., McGhee, D., & Schwartz, J. L. K. (1998). Measuring individual differences in implicit cognition: The implicit association test. Journal of Personality and Social Psychology, 6, 1464–1480. Hayn-Leichsenring, G. U., Kloth, N., Schweinberger, S. R., & Redies, C. (2013). Adaptation effects to attractiveness of face photographs and art portraits are domain-specific. i-Perception, 4, 303-316.
Heekeren, H. R., Marrett, S., Bandettini, P. A., & Ungerleider, L. G. (2004). A general mechanism for perceptual decision-making in the human brain, Nature,
431, 859–862. Heider, F. (1958). The psychology of interpersonal relations. New York: Wiley.
Herrington, J. D., Mohanty, A., Koven, N. S., Fisher, J. E., Stewart, J. L., Banich, M. T., Webb, A. G., Miller, G. A. and Heller, W. (2005). Emotion-modulated performance and activity in left dorsolateral prefrontal cortex, Emotion, 5, 200–207.
Höfel, L., & Jacobsen, T. (2007). Electrophysiological indices of processing aesthetics: Spontaneous or intentional processes? International Journal of Psychophysiology, 65, 20–31.
Hull, C. L. (1952). A behavior system. New Haven, CT: Yale University.
Humphrey, D. (1997). Preferences in symmetries and symmetries in drawings: Asymmetries between ages and sexes. Empirical Studies of the Arts, 15, 41–60.
Ingarden, R. (1985). Selected papers in aesthetics (P. J. McCormick, Ed.). Washington, DC: Catholic University of America. Kawabata, H., & Zeki, S. (2004). Neural correlates of beauty. Journal of neurophysiology, 91, 1699-1705.
Kubovy, M. (2000). Visual aesthetics. In A. E. Kazdin (Ed.), Encyclopedia of psychology (Vol. 8, pp. 188–193). New York: Oxford University. Kuroso, M., & Kashimura, K. (1995). Apparent usability vs. inherent usability, CHI’95 Conference Companion. In Conference on Human Factors in Computing Systems, Denver, Colorado (pp. 292-293).
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (1999). International affective picture system (IAPS): Instruction manual and affective ratings. Technical Report A-4. Gainesville, FL. The Center for Research in Psychophysiology, University of Florid.
Lang, P. J., Bradley, M. M., & Cuthbert, B. N. (2001). International affective picture
system (IAPS): Instruction manual and affective ratings. Technical Report A-5. Gainesville, FL. The Center for Research in Psychophysiology, University of Florida
Lang, P.J., Bradley, M.M., & Cuthbert, B.N. (2005). International Affective Picture System (IAPS): Affective rating of picture and instruction manual. Technical Report no. A-6. University of Florida, Gainesville, FL.
Lang, P.J., Bradley, M.M., & Cuthbert, B.N. (2008). International Affective Picture System (IAPS): Affective rating of picture and instruction manual. Technical Report no. A-8. University of Florida, Gainesville, FL.
Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489–508. Lishner, D. A., Cooter, A. B., & Zald, D. H. (2008). Rapid emotional contagion and expressive congruence under strong test conditions. Journal of Nonverbal Behavior, 32, 225-239.
Locher, P. and Nagy, Y. (1996). Vision spontaneously establishes the percept of pictorial Balance, Empirical Studies of the Arts, 14, 17–31. Locher, P. J. (2011). Empirical investigation of an aesthetic experience with art. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.163-188). New York: Oxford University.
Locher, P. J., Smith, J. K., & Smith, J. F. (2001). The influence of presentation format and viewer training in the visual arts on the perception of pictorial and aesthetic qualities of paintings. Perception, 30, 449-465. Locher, P., Krupinski, E. A., Mello-Thoms, C., & Nodine, C. F. (2007). Visual interest in pictorial art during an aesthetic experience. Spatial Vision, 21, 55-77. Makin, A. D. J., Pecchinenda, A., & Bertamini, M. (2012a). Implicit affective
evaluation of visual symmetry. Emotion, 12, 1021-1030. Makin, A., Pecchinenda, A., & Bertamini, M. (2012b). Grouping by closure influences subjective regularity and implicit preference. i-Perception, 3, 519-527.
Mastandrea, S., Bartoli, G., & Bove, G. (2007). Learning through ancient art and experiencing emotions with contemporary art: comparing visits in two different museums. Empirical Studies of the Arts, 25, 173-191.
Mastandrea, S., Bartoli, G., & Bove, G. (2009). Preferences for ancient and modern art meuseums: visitor experiences and personality characteristics. Psychology of Aesthetics, Creativity, and the Arts, 3, 164-173.
Mastandrea, S., Bartoli, G., & Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity and the Arts, 5, 126–134.
Merleau-Ponty,M. (1964). The primacy of perception, and other essays on phenomenological psychology, the philosophy of art, history, and politics. Chicago: Northwestern University. Nadal, M., Munar, E., Capo, M. A., Rossello, J., & Cela-Conde, C. J. (2008). Towards a framework for the study of the neural correlates of aesthetic preference. Spatial Vision, 21, 379-396. Nodine, C. F., Locher, P. J., & Krupinski, E. A. (1993). The role of formal art training on perception and aesthetic judgment of art compositions. Leonardo, 26, 219-227. O`Doherty, J., Kringelbach, M. L., Rolls, E. T., Hornak, J., & Andrews, C. (2001). Abstract reward and punishment representations in the human orbitofrontal cortex. Nature neuroscience, 4, 95-102.
Osgood, C., Suci, G. & Tannenbaum, P. (1957). The measurement of meaning. Urbana,
IL: University of Illinois press. Ostrom, T. M., & Gannon, K. M. (1996). Exemplar generation: assessing how respondents give meaning to rating scales. In: Schwarz, N., Sudman, S. (Eds.), Answering Questions. Jossey-Bass Publishers, San Francisco.
Parsons, M. J. (1987). How we understand art: a cognitive developmental account of aesthetic experience. New York: Cambridge University. Principe, C. P., & Langlois, J. H. (2011). Faces differing in attractiveness elicit corresponding affective responses. Cognition and Emotion, 25, 140-148. Ramachandran, V. S., & Hirstein, W. (1999). The science of art: A neurological theory of aesthetic experience. Journal of consciousness Studies, 6, 15-51. Rasche, C., & Koch, C. (2002). Recognizing the gist of a visual scene: possible perceptual and neural mechanisms. Neurocomputing, 44, 979-984. Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver`s processing experience?.Personality and social psychology review, 8, 364-382.
Reber, R.,Winkielman, P., & Schwarz, N. (1998). Effects of perceptual fluency on affective judgments. Psychological Science, 9, 45–48. Russell, P. A., & George, D. A. (1990). Relationships between aesthetic response scales applied to paintings. Empirical Studies of the Arts, 8, 15-30. Shimamura, A. P. (2011). Toward a science of aesthetics: Issues and ideas. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.3-28). New York: Oxford University. Silvia, P. J., & Brown, E. M. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts, 1, 100-106. Silvia, P. L. (2011).Human emotions and aesthetic experience: An overview of
empirical aesthetics. In A.P. Shimamura & S.E. Palmer (Ed.). Aesthetic Science: Connecting Minds, Brains, and Experience (pp.250-275). New York: Oxford University.
Sko, M., & Vartanian, O. (Eds.) (2009). Neuroaesthetics. Amityville, NY: Baywood Publishing Co.
Skurnik, I., Schwarz, N., & Winkielman, P. (2000). Drawing inferences from feelings: The role of naive beliefs. In H. Bless&J. P. Forgas (Eds.), The message within: The role of subjective experience in social cognition and behavior (pp. 162–175). Philadelphia: Psychology.
Smith, J. K., & Smith, L. F. (2001). Spending time on art, Empirical Studies of the Arts, 19, 229–236. Smith, J. K., & Smith, L. F. (2003). Origins of Impressionism: Relating visitor behavior to perceived learning. Bulletin of Psychology and the Arts, 4, 80-85. Smith, L. F., Bousquet, S. G., Chang, G., & Smith, J. K. (2006). Effects of time and information on perception of art. Empirical Studies of the Arts, 24, 229-242.
Solso, R. L. (1996). Cognition and the visual arts. Cambridge, MA: MIT.
Stocke, V. (2003). Measuring Information Accessibility and Predicting Response-Effects: The Validity of Response-Certainties and Response-Latencies, Sonderforschungsbereich, 504, 03-33. University of Mannheim.
Symons, D. (1979). The evolution of human sexuality. New York: Oxford University. Tangney, J. P., & Dearing, R. L. (2003). Shame and guilt. New York: Guilford. Tassinary, L. G., Cacioppo, J. T., & Vanman, E. J. (2007). The Skeletomotor System: Surface Electromyography. In J. T. Cacioppo, L. G. Tassinary & G. Berntson (Ed.). Handbook of psychophysiology (p.267-299). Cambridge University Press.
Tatarkiewicz, W. (1970). History of aesthetics. The Hague, The Netherlands: Mouton.
Thomas, M., & Morwitz, V. (2005). Penny Wise and Pound Foolish: The Left‐Digit Effect in Price Cognition. Journal of Consumer Research, 32, 54-64. Tractinsky, N., Cokhavi, A., Kirschenbaum, M., & Sharfi, T. (2006). Evaluating the consistency of immediate aesthetic perceptions of web pages. International Journal of Human-Computer Studies, 64, 1071-1083. Tracy, J. L., & Robins, R. W. (2007). Emerging insights into the nature and function of pride. Current Directions in Psychological Science, 16, 147-150. Tracy, J. L., Robins, R. W., & Tangney, J. P. (Eds.). (2007). The self-conscious emotions: Theory and research (pp.3-20). New York: Guilford.
Tyebjee, T. T. (1979). Response latency: a new measure for scaling brand preference. Journal of Marketing Research, 16, 96–101.
Vartanian, O., & Goel, V. (2004). Neuroanatomical correlates of aesthetic preference for paintings, Neuroreport, 15, 893–897. Wang, X., Huang, Y., Ma, Q., & Li, N. (2012). Event-related potential P2 correlates of implicit aesthetic experience. Neuroreport, 23, 862-866. Weyers, P., Mühlberger, A., Hefele, C., & Pauli, P. (2006). Electromyographic responses to static and dynamic avatar emotional facial expressions.Psychophysiology, 43, 450-453.
Winkielman, P., & Cacioppo, J. T. (2001). Mind at ease puts a smile on the face: Psychophysiological evidence that processing facilitation leads to positive affect. Journal of Personality and Social Psychology, 81, 989–1000.
Winkielman, P., & Fazendeiro, T. (2003). Effects of conceptual fluency on memory and liking. Manuscript in preparation. Woods, W. A. (1991). Parameters of aesthetic objects: applied aesthetics. Empirical Studies of the Arts, 9, 105-114. Zeki, S. (1999). Art and the brain. Journal of Consciousness Studies, 6, 76-96.
Zeki, S. (1999). Inner vision: an exploration of art and the brain (p.224). New York: Oxford University.		zh_TW