Osobowość i wiedza ekspercka jako wyznaczniki percepcji współczesnej sztuki wizualnej
Słowa kluczowe:
osobowość, wiedza ekspercka, współczesna sztuka wizualnaAbstrakt
Artykuł prezentuje przegląd badań dotyczących indywidualnych uwarunkowań percepcji estetycznej. Wśród rożnych wymiarów osobowości najsilniejszym predyktorem okazuje się otwartość na doświadczenie, która pozytywnie koreluje z wrażliwością artystyczną w ogóle, a także jej nietradycyjnymi formami. Prezentowane badania wskazują również na systematyczne różnice pomiędzy doświadczeniem estetycznym ekspertów i laików. Szczególne znaczenie treningu estetycznego uwidocznia się w kontakcie ze sztuką współczesną. Ze względu na charakterystyczne właściwości sztuki współczesnej (niejednoznaczność, rekontekstualizacja czy wielowarstwowość) nadanie interpretacji dziełu - stanowiące element estetycznego przetwarzania - przypomina proces rozwiązywania problemów. W związku z tym można oczekiwać, że satysfakcjonujące doświadczenie estetyczne w kontakcie ze współczesną sztuką wizualną częściej będzie udziałem osób charakteryzujących się wysoką tolerancją wieloznaczności i wiedzą ekspercką.Bibliografia
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Berlyne, D. E. (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. Oxford: Hemisphere.
Berlyne, D. E. Ogilvie, J. C. Parham, L. C. (1968). The dimensionality of visual complexity, interestingness, and pleasingness. Canadian Journal of Psychology/Revue Canadienne de Psychologie, 22(5), 376-387.
Chamorro-Premuzic, T., Furnham, A. Reimers, S. (2007). The artistic personality. The Psychologist, 20(2), 84-87.
Chamorro-Premuzic, T., Furnham, A., Reimers, S., Hsu, A., Ahmetoglu, G. (2009). Who art thou? Personality predictors of artistic preferences in a large UK sample: The importance of openness. British Journal of Psychology, 100, 501-516.
Chamorro-Premuzic, T., Burke, C., Hsu, A., Swami, V. (2010). Personality predictors of artistic preferences as a function of the emotional valence and perceived complexity of paintings. Psychology of Hesthetic, Creativity and Hrts, 4(4), 196-204.
Chang, E. (2006). Interactive Experiences and Contextual Learning in Museums. Studies in Art Education, 47(2), 170-186.
Cieciuch, J. (2013). Kształtowanie się systemu wartości od dzieciństwa do wczesnej dorosłości. Warszawa: Liberi Libri.
Cooper, J. M., Silvia, P. (2009). Opposing art: Rejection as an action tendency of hostile aesthetic emotions. Empirical Studies of the Arts, 27(1), 109-126.
Costa, P.T., McCrae, R.R. (1992). Revised NEO Personality Inventory (NEO-PI-R) and NEO Five Factor Inventory (NEO-FFI) professional manual. Odessa: FL: Psychological Assessment Resources.
DeYoung, C. G., Quilty, L. C., Peterson, J. B. (2007). Between facets and domains: 10 aspects of the Big Five. Journal of Personality and Social Psychology, 93, 880-896.
Eskine, K. J., Kacinik, N., Prinz, J. J. (2012). Stirring images: Fear, not happiness or arousal, makes art more sublime. Emotion, 12(5), 1071-1074.
Feist, G., Brady, T. (2004). Openness to experience, non-conformity, and the preference for abstract art. Empirical Studies of the Arts, 22(1), 77-89.
Furnham, A., Bunyan, M. (1988). Personality and art preferences. European Journal of Personality, 2, 67-74.
Furnham, A., Avison, M. (1997). Personality and preferences for surreal paintings. Personality and Individual Differences, 23(6), 923-935.
Furnham, A., Walker, J. (2001). Personality and judgements of abstract, pop art, and representational paintings. European Journal of Personality, 15, 57-72.
Gavin, F. (2012). 102 nowych artystów. Warszawa: Wydawnictwo Arkady.
Gombrich, E. H. (2009). Zmysł porządku. O psychologii sztuki dekoracyjnej. Kraków: Universitas.
Gude, O. (2004). Postmodern Principles: In search of a 21st art education. Art Education, 57 (1), 6-14.
Housen, A. (2001). Eye of the beholder: Research, theory and practice. New York: Visual Understanding in Education.
Isen, A. M. (2009). A role for neuropsychology in understanding the facilitating influence of positive affect on social behavior and cognitive processes. W: S. J. Lopez, C. R. Snyder (red.), Oxford handbook of positive psychology (s. 503-518). New York: Oxford University Press.
Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo 39(2), 155-162.
Jakesh, M., Leder, H. (2009). Finding meaning in art: Preferred levels of ambiguity in art appreciation. Quarterly Journal of Experimental Psychology, 62(11), 2105-2112.
Leder, H., Belke, B., Oeberst, A., Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments, British Journal of Psychology, 95, 489-508.
Leder, H., Gerger, G., Dressler, S. G., Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2-10.
Martindale, C., Moore, K., West, A. (1988). Relationship of preference judgments to typicality, novelty, and mere exposure. Empirical Studies of the Arts, 6(1), 79-96.
Mastandrea, S., Bartoli, G., Bove, G. (2009). Preferences for Ancient and Modern Art Museums: Visitor experiences and personality characteristics. Psychology of Aesthetics, Creativity, and the Arts, 3(3), 164-173.
Mastandrea, S., Bartoli, G., Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 126-134.
McCrae, R. R. (2007). Aesthetic chills as a universal marker of openness to experience. Motivation and Emotion, 31, 5-11.
McCrae, R. R., Costa, P. T., Jr. (1997). Conceptions and correlates of openness to experience. W: R. Hogan, J. Johnson i S. Briggs (red.), Handbook of personality psychology (s. 825-847). San Diego: Academic Press.
McCrae, R., Costa, P. (2009). The five factor model of personality traits: Consensus and controversy. W: G., Mathews, P., Corr (red.), The Cambridge handbook of personality psychology (s. 148-161). Cambridge: University Press.
McManus, I. C., Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. British Journal of Psychology, 97(4), 555-587.
McLain, D. L. (2009). Evidence of the properties of an ambiguity tolerance measure: The Multiple Stimulus Types Ambiguity Tolerance Scale-II (MSTAT-II). Psychological Reports, 105(3), 975-988.
Mealey, L., Theis, P. (1995). The relationship between mood and preferences among natural landscapes: An evolutionary perspective. Ethology & Sociobiology, 16(3), 247-256.
Mills, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1(3), 320-329.
Parsons, M. J. (1987). How we understand art: A cognitive developmental account of aesthetic experience. Cambridge: Cambridge University Press.
Rawlings, D., Barrantes-Vidal, N., Furnham, A. (2000). Personality and aesthetic preference in Spain and England: Two studies relating sensation seeking and openness to experience to liking for paintings and music. European Journal of Personality, 14(6), 553-576.
Russell, P. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110.
Russell, P.A., Milne, S. (1997). Meaningfulness and hedonic values of paintings: Effects of titles. Empirical Studies of the Arts, 15(1), 61-73.
Silvia, P. J. (2006). Artistic training and interest in visual art: Applying the appraisal model of aesthetic emotions. Empirical Studies of the Arts, 24(2), 139-161.
Silvia, P. J. (2007). Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency. Psychology of Aesthetics, Creativity, and the Arts, 1(4), 247-249.
Silvia, P., Brown, E. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding anappraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts 1(2), 100-106.
Silvia, P. J., Nusbaum, E.C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 208-214.
Schwartz, S. H. (1992). Universals in the content and structure of values: Theory and empirical tests in 20 countries. W: M. Zanna (red.), Advances in experimental social psychology (t. 25, s. 1-65). New York: Academic Press.
Tinio, P. P. L. (2013). From Artistic Creation to Aesthetic Reception: The Mirror Model of Art. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 265-275.
Tinio, P. P. L., Smith, J. K., Potts, K. (2010). The object and the mirror: The nature and dynamics of museum tours. International Journal of Creativity and Problem Solving, 20, 37-52.
Tobacyk, J. J., Myers, H., Bailey, L. (1981). Field-dependence, sensation-seeking, and preference of paintings. Journal of Personality Assessment 45(3), 270-277.
Welleditsch, D., Nadal, M., Leder, H. (2013). Spending time on art: The effect of context on art appreciation and viewing behavior. Poster zaprezentowany podczas 18th Meeting of the European Society for Cognitive Psychology, 29.08-1.09.2013, Budapest.
Zuckerman, M. (1994). Behavioral expressions and biosocial bases of sensation seeking. New York: Cambridge Press.
Berlyne, D. E. (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. Oxford: Hemisphere.
Berlyne, D. E. Ogilvie, J. C. Parham, L. C. (1968). The dimensionality of visual complexity, interestingness, and pleasingness. Canadian Journal of Psychology/Revue Canadienne de Psychologie, 22(5), 376-387.
Chamorro-Premuzic, T., Furnham, A. Reimers, S. (2007). The artistic personality. The Psychologist, 20(2), 84-87.
Chamorro-Premuzic, T., Furnham, A., Reimers, S., Hsu, A., Ahmetoglu, G. (2009). Who art thou? Personality predictors of artistic preferences in a large UK sample: The importance of openness. British Journal of Psychology, 100, 501-516.
Chamorro-Premuzic, T., Burke, C., Hsu, A., Swami, V. (2010). Personality predictors of artistic preferences as a function of the emotional valence and perceived complexity of paintings. Psychology of Hesthetic, Creativity and Hrts, 4(4), 196-204.
Chang, E. (2006). Interactive Experiences and Contextual Learning in Museums. Studies in Art Education, 47(2), 170-186.
Cieciuch, J. (2013). Kształtowanie się systemu wartości od dzieciństwa do wczesnej dorosłości. Warszawa: Liberi Libri.
Cooper, J. M., Silvia, P. (2009). Opposing art: Rejection as an action tendency of hostile aesthetic emotions. Empirical Studies of the Arts, 27(1), 109-126.
Costa, P.T., McCrae, R.R. (1992). Revised NEO Personality Inventory (NEO-PI-R) and NEO Five Factor Inventory (NEO-FFI) professional manual. Odessa: FL: Psychological Assessment Resources.
DeYoung, C. G., Quilty, L. C., Peterson, J. B. (2007). Between facets and domains: 10 aspects of the Big Five. Journal of Personality and Social Psychology, 93, 880-896.
Eskine, K. J., Kacinik, N., Prinz, J. J. (2012). Stirring images: Fear, not happiness or arousal, makes art more sublime. Emotion, 12(5), 1071-1074.
Feist, G., Brady, T. (2004). Openness to experience, non-conformity, and the preference for abstract art. Empirical Studies of the Arts, 22(1), 77-89.
Furnham, A., Bunyan, M. (1988). Personality and art preferences. European Journal of Personality, 2, 67-74.
Furnham, A., Avison, M. (1997). Personality and preferences for surreal paintings. Personality and Individual Differences, 23(6), 923-935.
Furnham, A., Walker, J. (2001). Personality and judgements of abstract, pop art, and representational paintings. European Journal of Personality, 15, 57-72.
Gavin, F. (2012). 102 nowych artystów. Warszawa: Wydawnictwo Arkady.
Gombrich, E. H. (2009). Zmysł porządku. O psychologii sztuki dekoracyjnej. Kraków: Universitas.
Gude, O. (2004). Postmodern Principles: In search of a 21st art education. Art Education, 57 (1), 6-14.
Housen, A. (2001). Eye of the beholder: Research, theory and practice. New York: Visual Understanding in Education.
Isen, A. M. (2009). A role for neuropsychology in understanding the facilitating influence of positive affect on social behavior and cognitive processes. W: S. J. Lopez, C. R. Snyder (red.), Oxford handbook of positive psychology (s. 503-518). New York: Oxford University Press.
Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo 39(2), 155-162.
Jakesh, M., Leder, H. (2009). Finding meaning in art: Preferred levels of ambiguity in art appreciation. Quarterly Journal of Experimental Psychology, 62(11), 2105-2112.
Leder, H., Belke, B., Oeberst, A., Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments, British Journal of Psychology, 95, 489-508.
Leder, H., Gerger, G., Dressler, S. G., Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2-10.
Martindale, C., Moore, K., West, A. (1988). Relationship of preference judgments to typicality, novelty, and mere exposure. Empirical Studies of the Arts, 6(1), 79-96.
Mastandrea, S., Bartoli, G., Bove, G. (2009). Preferences for Ancient and Modern Art Museums: Visitor experiences and personality characteristics. Psychology of Aesthetics, Creativity, and the Arts, 3(3), 164-173.
Mastandrea, S., Bartoli, G., Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 126-134.
McCrae, R. R. (2007). Aesthetic chills as a universal marker of openness to experience. Motivation and Emotion, 31, 5-11.
McCrae, R. R., Costa, P. T., Jr. (1997). Conceptions and correlates of openness to experience. W: R. Hogan, J. Johnson i S. Briggs (red.), Handbook of personality psychology (s. 825-847). San Diego: Academic Press.
McCrae, R., Costa, P. (2009). The five factor model of personality traits: Consensus and controversy. W: G., Mathews, P., Corr (red.), The Cambridge handbook of personality psychology (s. 148-161). Cambridge: University Press.
McManus, I. C., Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. British Journal of Psychology, 97(4), 555-587.
McLain, D. L. (2009). Evidence of the properties of an ambiguity tolerance measure: The Multiple Stimulus Types Ambiguity Tolerance Scale-II (MSTAT-II). Psychological Reports, 105(3), 975-988.
Mealey, L., Theis, P. (1995). The relationship between mood and preferences among natural landscapes: An evolutionary perspective. Ethology & Sociobiology, 16(3), 247-256.
Mills, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1(3), 320-329.
Parsons, M. J. (1987). How we understand art: A cognitive developmental account of aesthetic experience. Cambridge: Cambridge University Press.
Rawlings, D., Barrantes-Vidal, N., Furnham, A. (2000). Personality and aesthetic preference in Spain and England: Two studies relating sensation seeking and openness to experience to liking for paintings and music. European Journal of Personality, 14(6), 553-576.
Russell, P. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110.
Russell, P.A., Milne, S. (1997). Meaningfulness and hedonic values of paintings: Effects of titles. Empirical Studies of the Arts, 15(1), 61-73.
Silvia, P. J. (2006). Artistic training and interest in visual art: Applying the appraisal model of aesthetic emotions. Empirical Studies of the Arts, 24(2), 139-161.
Silvia, P. J. (2007). Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency. Psychology of Aesthetics, Creativity, and the Arts, 1(4), 247-249.
Silvia, P., Brown, E. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding anappraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts 1(2), 100-106.
Silvia, P. J., Nusbaum, E.C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 208-214.
Schwartz, S. H. (1992). Universals in the content and structure of values: Theory and empirical tests in 20 countries. W: M. Zanna (red.), Advances in experimental social psychology (t. 25, s. 1-65). New York: Academic Press.
Tinio, P. P. L. (2013). From Artistic Creation to Aesthetic Reception: The Mirror Model of Art. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 265-275.
Tinio, P. P. L., Smith, J. K., Potts, K. (2010). The object and the mirror: The nature and dynamics of museum tours. International Journal of Creativity and Problem Solving, 20, 37-52.
Tobacyk, J. J., Myers, H., Bailey, L. (1981). Field-dependence, sensation-seeking, and preference of paintings. Journal of Personality Assessment 45(3), 270-277.
Welleditsch, D., Nadal, M., Leder, H. (2013). Spending time on art: The effect of context on art appreciation and viewing behavior. Poster zaprezentowany podczas 18th Meeting of the European Society for Cognitive Psychology, 29.08-1.09.2013, Budapest.
Zuckerman, M. (1994). Behavioral expressions and biosocial bases of sensation seeking. New York: Cambridge Press.
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2014-12-01
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Pietras, K. . (2014). Osobowość i wiedza ekspercka jako wyznaczniki percepcji współczesnej sztuki wizualnej. Annales Universitatis Paedagogicae Cracoviensis Studia Psychologica, 7(1), 24–37. Pobrano z https://studia-psychologica.uken.krakow.pl/article/view/5600
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