The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation
The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation
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DOI：
10.1017/s0140525x12000489
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发表时间：
2013-04-01
影响因子：
29.3
通讯作者：
Reber, Rolf
中科院分区：
文献类型：
--
作者：
Bullot, Nicolas J.;Reber, Rolf
为艺术鉴赏理论寻找科学基础的研究在社会科学和认知科学的交叉领域引发了争议。虽然对艺术欣赏的科学探究同样相关，但心理学和历史的艺术研究方法是独立发展的，缺乏共同的核心理论原则。历史主义者认为，心理学和脑科学忽略了这样一个事实，即艺术品是在独特的历史情境和艺术意图的背景下生产和欣赏的艺术品。在揭示了心理学方法的缺陷之后，我们为艺术鉴赏科学引入了一个心理-历史框架。这一框架表明，艺术鉴赏科学必须研究鉴赏者如何处理因果和历史信息，以分类和解释他们对艺术的心理反应。在对文物认知研究的基础上，我们确定了三种欣赏模式：艺术品的基本接触、艺术设计立场和艺术理解。艺术设计立场是艺术理解的必要条件，是鉴赏者通过对艺术作品的制作、作者和功能的探究来发展对艺术历史背景的敏感性的一种态度。我们通过对经验美学中艺术欣赏的现有研究的分析来捍卫和说明心理-历史框架。最后，我们认为审美愉悦的流畅性理论可以被修正以满足框架的要求。我们的结论是，科学家可以在心理历史框架内解决有关艺术本质和欣赏的基本问题。
Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.