Putting reward in art: A tentative prediction error account of visual art
Putting reward in art: A tentative prediction error account of visual art
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DOI：
10.1068/i0466aap
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发表时间：
2011-01-01
期刊：
影响因子：
1.9
通讯作者：
Wagemans, Johan
中科院分区：
文献类型：
--
作者：
de Cruys, Sander Van;Wagemans, Johan
预测编码模型越来越多地被用于解释感知中的广泛发现。在这里，我们讨论的潜力，这个模型在解释机制的审美经验。传统上，艺术欣赏与和谐、知觉流畅和所谓的良好完形等概念有关。我们观察到，伟大的艺术作品往往公然违反这些特征。利用预测编码方法中预测误差的概念，我们试图解决这个矛盾。我们认为，艺术家经常会破坏他们首先在观众中精心建立的预测，从而凸显了审美体验中负面影响的重要性。然而，观众往往成功地恢复可预测的模式，有时在不同的水平。随之而来的奖励效应来自于从不确定状态到可预测性增加状态的这种转变。我们说明我们的帐户与几个例子绘画和艺术运动和个人偏好的差异进行了讨论。在更基本的层面上，我们的理论引导我们考虑预测确认和违反的情感含义。我们比较我们的建议，其他有影响力的美学理论，并探讨其优点和局限性。
The predictive coding model is increasingly and fruitfully used to explain a wide range of findings in perception. Here we discuss the potential of this model in explaining the mechanisms underlying aesthetic experiences. Traditionally art appreciation has been associated with concepts such as harmony, perceptual fluency, and the so-called good Gestalt. We observe that more often than not great artworks blatantly violate these characteristics. Using the concept of prediction error from the predictive coding approach, we attempt to resolve this contradiction. We argue that artists often destroy predictions that they have first carefully built up in their viewers, and thus highlight the importance of negative affect in aesthetic experience. However, the viewer often succeeds in recovering the predictable pattern, sometimes on a different level. The ensuing rewarding effect is derived from this transition from a state of uncertainty to a state of increased predictability. We illustrate our account with several example paintings and with a discussion of art movements and individual differences in preference. On a more fundamental level, our theorizing leads us to consider the affective implications of prediction confirmation and violation. We compare our proposal to other influential theories on aesthetics and explore its advantages and limitations.