|
課程名稱 |
藝術心理學
Psychology of Fine Arts |
|
開課學期 |
109-1 |
|
授課對象 |
學程 神經生物與認知科學學程 |
|
授課教師 |
陳建中 |
|
課號 |
Psy5324 |
|
課程識別碼 |
227 U2520 |
|
班次 |
|
|
學分 |
3.0 |
|
全/半年 |
半年 |
|
必/選修 |
選修 |
|
上課時間 |
星期二2,3,4(9:10~12:10) |
|
上課地點 |
南館地下B |
|
備註 |
總人數上限：10人 |
|
Ceiba 課程網頁 |
http://ceiba.ntu.edu.tw/1091Psy5324_2020 |
|
課程簡介影片 |
|
|
核心能力關聯 |
本課程尚未建立核心能力關連 |
|
課程大綱
|
|
為確保您我的權利,請尊重智慧財產權及不得非法影印
|
|
課程概述 |
Explore the current research on experimental aesthetics. |
|
課程目標 |
Prepare students necessary background for research in experimental aesthetics and neuroaesthetics. |
|
課程要求 |
Class participation and discussion: It is your responsibility to read the assigned material before the class and send one question about the material that you want to discuss by 12am of that Sunday.
Term paper: The term paper should focus on a question related to the material taught in class. You should briefly but clearly review the question and related works and design an experiment to solve it. You don’t need to run the experiment or spend hundreds of hours deriving the solution, but you should discuss some scenarios in which the experimental result can support or reject your hypothesis. Topics related to your own research are strongly encouraged. The length of the paper will be about 3~5 pages double space letter size or A4 document.
|
|
預期每週課後學習時數 |
|
|
Office Hours |
備註： Class participation and discussion (70%)
Term paper (30%) |
|
指定閱讀 |
9/22 Historical review
Fechner ‘s Psychophysics
Ortlieb SA, Kügel WA, Carbon CC. (2020). Fechner (1866): The Aesthetic Association Principle-A Commented Translation. Iperception, 11(3):2041669520920309. doi: 10.1177/2041669520920309.
Phillips F, Norman JF, Beers AM. Fechner's aesthetics revisited. Seeing Perceiving. 23(3):263-271. doi:10.1163/187847510X516412
Arheim’s Gestalt theory
Cupchik G (2007). A critical reflection on Arnheim's Gestalt theory of aesthetics. Psychology of Aesthetics, Creativity, and the Arts, 1 (1) pp: 16-24.
Verstegen I (2007). Rudolf Arnheim's contribution to Gestalt psychology. Psychology of Aesthetics, Creativity, and the Arts, 1 (1) pp: 8-15
Berlyne’s feature analysis
Berlyne D (1970). Novelty, complexity, and hedonic value. Perception & Psychophysics 8 (5) 279-286
9/29 Modern approaches
Modern approaches I: Information processing approach
Silvia PJ (2015). Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion. Review of General Psychology, 9(4) 342-357.
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 (4) pp: 364-382
Leder, H., Belke, B., Oeberst, A., & Augustin, M. D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489–508. doi:10.1348/0007126042369811
Cutting JE. (2003). Gustave Caillebotte, French Impressionism, and mere exposure. Psychon. Bull. Rev. 10: 319–43
10/6 Modern approaches II: Neuroaesthetics
Jacobsen T (2010). Beauty and the brain: culture, history and individual differences in aesthetic appreciation. Journal of Anatomy, 216(2):184-91. doi: 10.1111/j.1469-7580.2009.01164.x.
Di Dio C, Vittorio G (2009). Neuroaesthetics: a review. Current Opinion in Neurobiology. 2009,19:682–687.
Kirk U. & Freedberg R (2015). Contextual bias and insulation against bias during aesthetic rating: The roles of VMPFC and DLPFC in neural valuation. In Huston et al. (eds.) Art, Aesthetics, and the Brain. Oxford: OUP.
10/13 Modern approaches III: Evolutionary aspects
Tooby, J. & Cosmides, L. (2001). Does beauty build adapted minds? Toward an evolutionary theory of aesthetics, fiction and the arts. SubStance, Issue 94/95, 30(1), 6-27.
Dutton D. (2003). Aesthetics and Evolutionary Psychology. In J Levinson (ed.) The Oxford Handbook for Aesthetics. Oxford: OUP.
Modern approaches IV: Other theoretical and empirical issues
Fayn K, Silvia PJ (2015). States, people, and contexts: Three psychological challenges for the neuroscience of aesthetics. In Huston et al. (eds.) Art, Aesthetics, and the Brain. Oxford: OUP.
Leder H, Gerger G, and Brieber D. (2015). Aesthetic appreciation: Convergence from experimental aesthetics and physiology. In Huston et al. (eds.) Art, Aesthetics, and the Brain. Oxford: OUP.
Brielmann, A. A., and Pelli, D. G. (2017) Beauty requires thought. Current Biology, 27, 1506–1513. doi: 10.1016/j.cub.2017.04.018, PMID: 28502660
10/20, 10/27 Image statistics
Frequency domain analysis
Torralba A and Oliva A (2003). Statistics of natural image categories. Network, 14 391-412.
Graham DJ, Field DJ. (2007). Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities. Spatial Vision. 21: 149–64
Redies C, Hasenstein J, Denzler J. (2007). Fractal-like image statistics in visual art: Similarity to natural scenes. Spatial Vision, 21, pp. 137-148
Isherwood ZJ, Schira MM, Spehar B, 2017, 'The tuning of human visual cortex to variations in the 1/fα amplitude spectra and fractal properties of synthetic noise images', NeuroImage 146, 642 - 657,
Taylor RP, Micolich AP, Jonas D. (1999). Fractal analysis of Pollock drip paintings. Nature 399, 422.
Juricevic, I., Land, L., Wilkins, A., & Webster, M. A. (2010). Visual Discomfort and Natural Image Statistics. Perception, 39(7), 884–899.
Space domain analysis
Graham, D. J., Schwarz, B., Chatterjee, A. and Leder, H. 2016. Preference for luminance histogram regularities in natural scenes. Vision Research, 120, 11-21
Graham, D. J., Hughes, J. M., Leder, H. and Rockmore, D. N. 2011. Statistics, vision, and the analysis of artistic style. WIREs Computational Statistics (Wiley Interdisciplinary Reviews-Computational Statistics) 4, 115–123. doi: 10.1002/wics.197.
Hughes, J. M., Graham, D. J. and Rockmore, D. N. Quantification of artistic style through sparse coding analysis in the drawings of Pieter Bruegel the Elder. Proceedings of the National Academy of Sciences USA 107, 1279-1283.
11/3 Composition
Boselie, F. (1984). The aesthetic attractivity of the golden section. Psychological Research 45, 367-375
Chen, Y. -C., Colombatto, C., & Scholl, B. J. (2018). Looking into the future: An inward bias in aesthetic experience driven only by gaze cues. Cognition, 176, 209-214.
Palmer SE, Gardner JS, Wickens TD. (2008). Aesthetic issues in spatial composition: effects of position and direction on framing single objects. Spatial Vision 21: 421–49
Tyler CW. (2007). Some principles of spatial organization in art. Spatial Vision 20, 509–530.
Sammartino J, Palmer SE. Aesthetic issues in spatial composition: representational fit and the role of semantic context. Perception. 2012;41(12):1434-1457. doi:10.1068/p7233
11/10 Symmetry
Chen, C.-C.; Wu, J.-H.; Wu, C.-C (2011). Reduction of Image Complexity Explains Aesthetic Preference for Symmetry. Symmetry 3, 443-456.
van der Helm, P.A. (2011). The Influence of Perception on the Distribution of Multiple Symmetries in Nature and Art. Symmetry 3, 54–71.
Jacobsen, T., Höfel, L. Descriptive and evaluative judgment processes: Behavioral and electrophysiological indices of processing symmetry and aesthetics. Cognitive, Affective, & Behavioral Neuroscience 3, 289–299 (2003). https://doi.org/10.3758/CABN.3.4.289
Jacobsen, T.; Klein, S.; Löw, A. (2018). The Posterior Sustained Negativity Revisited—An SPN Reanalysis of Jacobsen and Höfel (2003). Symmetry, 10, 27.
Swami, V., & Furnham, A. (2012). The Effects of Symmetry and Personality on Aesthetic Preferences. Imagination, Cognition and Personality, 32(1), 41–57. https://doi.org/10.2190/IC.32.1.d
11/17, 11/24 Color
Color usage
Hutchings JB. (2015). Symbolic use of color in ritual, tradition, and folklore. In AJ Elliot, MD Fairchild, & A Franklin (eds.) Handbook of Color Psychology. pp 340-356. Cambridge: Cambridge University Press.
Ou LC (2015). Color emotion and color harmony. In AJ Elliot, MD Fairchild, & A Franklin (eds.) Handbook of Color Psychology. pp 401-418. Cambridge: Cambridge University Press.
Meier BP (2015). Do metaphors color our perception of social life? In AJ Elliot, MD Fairchild, & A Franklin (eds.) Handbook of Color Psychology. pp 419-433. Cambridge: Cambridge University Press.
Pazda AD, Greitemeyer T. (2015). Color in romantic contexts in humans. In AJ Elliot, MD Fairchild, & A Franklin (eds.) Handbook of Color Psychology. pp 531-545. Cambridge: Cambridge University Press.
11/24 Color preference
Guilford JP, Smith PC. (1959). A System of Color-Preferences. The American Journal of Psychology 72(4), 487-502.
Hulbert A. & Owen A (2015). Biological, cultural, and developmental influences on color preferences. In AJ Elliot, MD Fairchild, & A Franklin (eds.) Handbook of Color Psychology. Pp 454-479. Cambridge: Cambridge University Press.
Palmer S Schloss K (2010). An ecological valence theory of human color preference. Proceedings of the National Academy of Sciences of the United States of America 107 (19): 8877-8882.
12/1, 12/8 faces and portraits
Attractiveness of faces
Little AC, Jones BC, DeBruine LM. Facial attractiveness: evolutionary based research. Philos Trans R Soc Lond B Biol Sci. 366(1571):1638-1659. doi:10.1098/rstb.2010.0404.
Getov, S., Winston, JS (2015). Neural mechanisms for evaluating the attractiveness of faces. In Huston et al. (eds.) Art, Aesthetics, and the Brain. Oxford: OUP.
Rhodes G. (2006). The evolutionary psychology of facial beauty. Ann. Rev. Psychol. 57, 199–22610.1146/annurev.psych.57.102904.190208
Portraits
Tyler CW. (1998). Painters centre one eye in portraits. Nature, 392, 877–878. 3.
McManus, I., & Thomas, P. (2007). Eye Centring in Portraits: A Theoretical and Empirical Evaluation. Perception, 36, 167 - 182.
McManus, I. (2005). Symmetry and asymmetry in aesthetics and the arts. European Review 13(S2):157-180
Livingstone M Conway B (2004). Was Rembrandt Stereoblind? New England Journal of Medicine. 351 (12): 1264-1265
Balas B, Sinha P (2008). Portraits and perception: configural information in creating and recognizing face images. Spatial vision, 119–135.
12/15 Depth
Perspective
Tyler CW, Chen CC (2011). Chinese Perspective as a Rational System: Relationship to Panofsky's Symbolic Form. 中華心理學刊 ； 53卷4期 (2011 / 12 / 01) ， P7 – 27.
Papathomas, T. V., Baker, N., Yeshua, A. S., Zhuang, X., & Ng, A. (2012). The ingenious Mr Hughes: Combining forced, flat, and reverse perspective all in one art piece to pit objects against surfaces. i-Perception, 3(3), 182–187. https://doi.org/10.1068/i0478sas.
Dobias JJ & Papathomas TV (2014) The role of linear perspective cues on the perceived depth magnitude of the surfaces they are painted on: Proper-, reverse- and flat-perspective paintings, Perception, 43, 989-1000.
Blur
Cooper, E.A., Piazza, E.A. and Banks, M.S. (2012) The perceptual basis of common photographic practice. Journal of Vision, 12(5):8, 1-14.
12/22 Motion
Motion streak
Apthorp, D., Schwarzkopf, D. S., Kaul, C., Bahrami, B., Alais, D., & Rees, G. (2012). Direct evidence for encoding of motion streaks in human visual cortex. Proceedings. Biological sciences, 280(1752), 20122339. https://doi.org/10.1098/rspb.2012.2339
Motor synchrony
Chang A, Livingstone SR, Bosnyak DJ, Trainor LJ. (2017). Body sway reflects leadership in joint music performance. Proceedings of the National Academy of Sciences 114 (21), E4134-E4141.
Cheng, M., Kato, M., and Tseng, C.H., (2017) Gender and autistic traits modulate implicit motor synchrony. PLOS One, 10(5): e0184083..
Cheng, M., Kato, M., Saunders, J. A., & Tseng, C. H. (2020). Paired walkers with better first impression synchronize better. PLoS one, 15(2), e0227880.
12/29 Eye tracking studies
Rosenberg R & Klein C. (2015). The moving eye of the beholder: Eye tracking and the perception of paintings. In Huston et al. (eds.) Art, Aesthetics, and the Brain. Oxford: OUP.
Kesner L, Grygarová D, Fajnerová I, et al. Perception of direct vs. averted gaze in portrait paintings: An fMRI and eye-tracking study. Brain Cogn. 2018;125:88-99. doi:10.1016/j.bandc.2018.06.004.
|
|
參考書目 |
待補 |
|
評量方式
(僅供參考) |
|
|