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Aesthetic Pleasure versus Aesthetic Interest: The Two Routes to Aesthetic Liking

机译:审美乐趣与审美趣味:审美喜好的两种途径

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摘要

Although existing research has established that aesthetic pleasure and aesthetic interest are two distinct positive aesthetic responses, empirical research on aesthetic preferences usually considers only aesthetic liking to capture participants’ aesthetic response. This causes some fundamental contradictions in the literature; some studies find a positive relationship between easy-to-process stimulus characteristics and aesthetic liking, while others suggest a negative relationship. The present research addresses these empirical contradictions by investigating the dual character of aesthetic liking as manifested in both the pleasure and interest components. Based on the Pleasure-Interest Model of Aesthetic Liking (PIA Model; ), two studies investigated the formation of pleasure and interest and their relationship with aesthetic liking responses. Using abstract art as the stimuli, Study 1 employed a 3 (stimulus fluency: low, medium, high) × 2 (processing style: automatic, controlled) × 2 (aesthetic response: pleasure, interest) experimental design to examine the processing dynamics responsible for experiencing aesthetic pleasure versus aesthetic interest. We find that the effect of stimulus fluency on pleasure is mediated by a gut-level fluency experience. Stimulus fluency and interest, by contrast, are related through a process of disfluency reduction, such that disfluent stimuli that grow more fluent due to processing efforts become interesting. The second study employed product designs (bikes, chairs, and lamps) as stimuli and a 2 (fluency: low, high) × 2 (processing style: automatic, controlled) × 3 (product type: bike, chair, lamp) experimental design to examine pleasure and interest as mediators of the relationship between stimulus fluency and design attractiveness. With respect to lamps and chairs, the results suggest that the effect of stimulus fluency on attractiveness is fully mediated by aesthetic pleasure, especially in the automatic processing style. Conversely, disfluent product designs can enhance design attractiveness judgments due to interest when a controlled processing style is adopted.
机译:尽管现有研究已经确定审美愉悦和审美趣味是两个截然不同的积极审美反应,但是对审美偏好的实证研究通常只考虑喜欢审美的事物来捕捉参与者的审美反应。这在文献中引起了一些根本的矛盾。一些研究发现易于处理的刺激特征与审美喜好之间存在正相关关系,而另一些研究则表明存在负相关关系。本研究通过研究在愉悦和兴趣两个方面都表现出的审美喜好的双重特征,解决了这些经验性矛盾。基于审美喜好的兴趣模型(PIA模型;),两项研究研究了愉悦和兴趣的形成及其与审美喜好反应的关系。使用抽象艺术作为刺激,研究1采用3(刺激流畅度:低,中,高)×2(处理方式:自动,受控)×2(审美响应:愉悦,兴趣)实验设计来检验负责的处理动力学体验审美乐趣与审美兴趣。我们发现,刺激流畅性对愉悦感的影响是由肠道水平的流畅性体验介导的。相比之下,刺激的流利性和兴趣通过减少流失性的过程相关,从而使由于处理工作而变得更加流利的流离失所的刺激变得有趣。第二项研究采用产品设计(自行车,椅子和灯)作为刺激,并采用2(流利度:低,高)×2(处理方式:自动,受控)×3(产品类型:自行车,椅子,灯)进行实验设计。检查愉悦感和兴趣作为刺激流畅性和设计吸引力之间关系的中介者。对于灯具和椅子,结果表明,刺激性流畅性对吸引力的影响完全由审美愉悦度来介导,尤其是在自动加工风格中。相反,当采用受控的处理样式时,由于兴趣引起的不满意的产品设计可以增强设计吸引力的判断。

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