Combining universal beauty and cultural context in a unifying model of visual aesthetic experience.
Combining universal beauty and cultural context in a unifying model of visual aesthetic experience.
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DOI：
10.3389/fnhum.2015.00218
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发表时间：
2015
影响因子：
2.9
通讯作者：
Redies C
中科院分区：
文献类型：
--
作者：
Redies C
在这项工作中，我提出了一个视觉审美体验的模型，它结合了美学的形式主义和语境方面。该模型区分了两种处理模式。首先，感知加工是基于艺术品的内在形式，它可能是美的，也可能不是美的。如果是美丽的，大脑中的“美丽反应机制”就会被激活。这种自下而上的机制在人类中是普遍存在的；它广泛存在于视觉脑中，并对各种视觉模式作出反应。其次，认知加工是基于上下文信息的，比如描绘的内容、艺术家的意图或艺术品呈现的环境。认知加工部分是自上而下的，并且根据不同的文化经验因人而异。两个通道中的处理是并行的，并且在很大程度上是独立的。在一般情况下，如果两个渠道的加工都是有利的，即如果在知觉加工渠道（“知觉美学”）中产生共鸣，并且在认知加工渠道（“认知美学”）中成功掌握，则会产生审美体验。我推测，这种组合机制已经进化到调解一个（文化）群体成员之间的社会联系。原始情感可以通过这两种渠道被激发，并调节审美体验的程度。讨论了两种特殊情况。首先，在（后）现代艺术的一个子集中，美不再发挥突出作用。其次，在某些形式的抽象艺术中，美丽的形式可以用最少的认知处理来享受。这个模型被应用到西方艺术的例子中。最后，讨论了模型的意义。总之，提出的模型解决了美学经验的形式主义感性方法（基于艺术品的内在美）和语境方法（考虑美学的高度个性化和文化依赖性方面）之间的看似矛盾。
In this work, I propose a model of visual aesthetic experience that combines formalist and contextual aspects of aesthetics. The model distinguishes between two modes of processing. First, perceptual processing is based on the intrinsic form of an artwork, which may or may not be beautiful. If it is beautiful, a beauty-responsive mechanism is activated in the brain. This bottom–up mechanism is universal amongst humans; it is widespread in the visual brain and responsive across visual modalities. Second, cognitive processing is based on contextual information, such as the depicted content, the intentions of the artist or the circumstances of the presentation of the artwork. Cognitive processing is partially top–down and varies between individuals according to their cultural experience. Processing in the two channels is parallel and largely independent. In the general case, an aesthetic experience is induced if processing in both channels is favorable, i.e., if there is resonance in the perceptual processing channel (“aesthetics of perception”), and successful mastering in the cognitive processing channel (“aesthetics of cognition”). I speculate that this combinatorial mechanism has evolved to mediate social bonding between members of a (cultural) group of people. Primary emotions can be elicited via both channels and modulate the degree of the aesthetic experience. Two special cases are discussed. First, in a subset of (post-)modern art, beauty no longer plays a prominent role. Second, in some forms of abstract art, beautiful form can be enjoyed with minimal cognitive processing. The model is applied to examples of Western art. Finally, implications of the model are discussed. In summary, the proposed model resolves the seeming contradiction between formalist perceptual approaches to aesthetic experience, which are based on the intrinsic beauty of artworks, and contextual approaches, which account for highly individual and culturally dependent aspects of aesthetics.
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影响因子：
3.8
作者：
Braun J;Amirshahi SA;Denzler J;Redies C
通讯作者：
Redies C
影响因子：
5.7
作者：
Brown S;Gao X;Tisdelle L;Eickhoff SB;Liotti M
通讯作者：
Liotti M
影响因子：
2.6
作者：
Bar, Moshe;Neta, Maital
通讯作者：
Neta, Maital
DOI：
10.1142/s0218348x09004521
发表时间：
2009-12-01
影响因子：
4.7
作者：
Brothers, Harlan J.
通讯作者：
Brothers, Harlan J.
影响因子：
29.3
作者：
Bullot, Nicolas J.;Reber, Rolf
通讯作者：
Reber, Rolf