Who’s interested in contemporary paintings with semantic and syntactic violations?
DOI:
https://doi.org/10.24917/20845596.11.6Słowa kluczowe:
niespójności semantyczne i syntaktyczne, współczesna sztuka wizualna, zainteresowanie, różnice indywidualneAbstrakt
Sztuka współczesna często zawiera celowe zakłócenia formalne i treściowe. W niniejszym tekście zostały one zoperacjonalizowane jako niespójności syntaktyczne i semantyczne. Prezentowane tutaj badanie miało na celu określić czy niespójności w obrazach wzbudzają zainteresowanie widzów, a także które charakterystyki widzów w kontekście cech osobowości oraz wiedzy eksperckiej będą predyktorami zainteresowania tego typu sztuką. Eksperci (N=37) oraz laicy (N=56) oceniali 20 obrazów podzielonych na cztery grupy (tj. bez niespójności, zawierające tylko jeden typ niespójności: semantyczny lub syntaktyczny, oraz zawierające oba typy niespójności), a następnie wypełniali kwestionariusz Wielkiej Piątki oraz Skalę Potrzeby Poznawczego Domknięcia. Wyniki badania wskazują, że obrazy zawierające niespójności wywołują większe zainteresowania odbiorców, jednak ten efekt jest istotny wyłącznie w przypadku niespójności syntaktycznych. Nie stwierdzono interakcji pomiędzy typem niespójności w obrazie, różnicami indywidualnymi oraz dokonanymi ocenami obrazów. Ekspertyza nie była predyktorem zainteresowania. Natomiast wysoka otwartość na doświadczenie, wysoka potrzeba domknięcia poznawczego oraz niska neurotyczność okazały się predyktorami zainteresowania współczesną sztuką wizualnąBibliografia
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spaces. Psychology Science, 48(2), 135-156.
Bates, D., Maechler, M., Bolker, B., & Walker. S. (2015). Fitting Linear Mixed-Effects Models
Using lme4. Journal of Statistical Software, 67(1), 1-48.
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and judging objects undergoing relational violations. Cognitive Psychology, 14(2),
143-177.
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NEO Five-Factor Inventory (NEO-FFI) professional manual. Odessa, FL: Psychological
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uncertainty level. In D.E. Berlyne (Ed.), Studies in the new experimental aesthetics
(pp. 27-90). Washington, DC: Hemisphere Publication Services.
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for abstract art. Empirical Studies of the Arts, 22(1), 77-89.
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Correlates of Expertise in Visual Arts. Frontiers in human neuroscience, 12, 87.
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representational paintings. European Journal of Personality, 15, 57-72.
Ganczarek, J., Pietras, K., & Rosiek, R. Subjective cognitive challenge predicts eye movements
during perception of contemporary paintings. Empirical Studies of the Arts
(under review).
Granell, A. (2016). The effect of contemporary art perception: Study of younger and older
adults’ art appreciation in museums experiences. Doctoral dissertation. Facultat
de Psicologia, Ciències de l’Educació i de l’Esport Blanquerna, Universitat Ramon
Llull, Barcelona.
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8(9), 1-15
Kossowska, M., Hanusz, K., & Trejtowicz, M. (2012). Skrócona wersja Skali Potrzeby
Poznawczego Domknięcia. Dobór pozycji i walidacja skali [Short version of the
Need for Cognitive Closure Scale: Items selection and scale validation]. Psychologia
Społeczna, 7(1), 89-99.
Leder, H., Ring, A., & Dressler, S.G., (2013). See Me, Feel Me! Aesthetic Evaluations of Art
Portraits. Psychology of Aesthetics, Creativity, and the Arts, 7(4), 358-369.
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viewer training in the visual arts on the perception of pictorial and aesthetic qualities
of paintings. Perception, 30, 449-465.
Pelowsky, M., Markey, P., Forster, M., Gerger, G., & Leder, H. (2017). Move me, astonish
me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-
up processes in Art Perception (VIMAP) and corresponding affective, evaluative,
and neurophysiological correlates. Physics of Life Reviews, 21, 80-125.
Russell, P.A. (1994). Preferability, pleasingness, and interestingness: Relationships between
evaluative judgments in empirical aesthetics. Empirical Studies of the Arts,
12, 141-157.
Silvia, P.J. (2005).What is interesting? Exploring the appraisal structure of interest. Emotion
5(1), 89-102.
Silvia, P.J. (2006). Artistic training and interest in visual art: Applying the appraisal model
of aesthetic emotions. Empirical Studies of the Arts, 24, 139-161.
Silvia, P.J. (2010). Confusion and interest: The role of knowledge emotions in aesthetic
experience. Psychology of Aesthetics, Creativity, and the Arts, 4(2), 75-80.
Silvia, P.J., & Brown, E.M. (2007). Anger, disgust, and the negative aesthetic emotions:
Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity,
and the Arts 1(2), 100-106.
Szubielska, M., Niestorowicz, E., Bałaj, B. (2016). Wpływ figuratywości obrazu i zapoznania
się z informacją katalogową na percepcję estetyczną. Annales Universitatis Paedagogicae
Cracoviensis. Studia Psychologica, IX, 21-34.
Szubielska, M., Ratomska, M., Wójtowicz, M., Szymańska, A. (2018). The Effect of
Educational Workshops in an Art Gallery on Children’s Evaluation and Interpretation
of Contemporary Art. Empirical Studies of the Arts. https://doi.
org/10.1177/0276237418790917 (access 27.11.2018).
Tan, E.S. (2000). Emotion, art, and the humanities. In M. Lewis & J.M. Haviland-Jones
(Eds.), Handbook of emotions (2nd ed., pp. 116-134). New York: Guilford Press.
Webster, D.M., & Kruglanski, A.W. (1994). Individual differences in need for cognitive
closure. Journal of Personality and Social Psychology, 67(6), 1049-1062.
Wiersema, D.V., van der Schalk, J., & van Kleef, G.A. (2012). Who’s Afraid of Red, Yellow,
and Blue? Need for Cognitive Closure Predicts Aesthetic Preferences. , 6(2),
168-174.
Võ, M.L.H., & Henderson, J.M. (2009). Does gravity matter? Effects of semantic and syntactic
inconsistencies on the allocation of attention during scene perception. Journal
of Vision, 9(3), 24-24.
Võ, M.L.H., & Henderson, J.M. (2011). Object-scene inconsistencies do not capture gaze:
Evidence from the flash-preview moving-window paradigm. Attention, perception &
psychophysics 73(6), 1742-1753.
Võ, M.L.H., & Wolfe, J.M. (2013). Differential electrophysiological signatures of semantic
and syntactic scene processing. Psychological Science, 24(9), 1816-1823.
Zawadzki, B., Szczepaniak, P., & Strelau, J. (1995). Diagnoza psychometryczna pięciu wielkich
czynników osobowości: adaptacja kwestionariusza NEO-FFI Costy i McCrae’a
do warunków polskich [Psychometric diagnosis of the Five Factors Model: Polish
adaptation of NEO-FFI by Costa & McCrae]. Studia Psychologiczne, 33, 189-225.
spaces. Psychology Science, 48(2), 135-156.
Bates, D., Maechler, M., Bolker, B., & Walker. S. (2015). Fitting Linear Mixed-Effects Models
Using lme4. Journal of Statistical Software, 67(1), 1-48.
Biederman, I., Mezzanotte, R.J., & Rabinowitz, J.C. (1982). Scene perception: Detecting
and judging objects undergoing relational violations. Cognitive Psychology, 14(2),
143-177.
Chamorro-Premuzic, T., Furnham, A., & Reimers, S. (2007). The artistic personality. The
Psychologist, 20(2), 84-87.
Chamorro-Premuzic, T., 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(3), 501-516.
Costa, P.T.Jr., & 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.
Crozier, J.B. (1974). Verbal and exploratory responses to sound sequences varying in
uncertainty level. In D.E. Berlyne (Ed.), Studies in the new experimental aesthetics
(pp. 27-90). Washington, DC: Hemisphere Publication Services.
Cupchik, G.C., & Laszlo, J. (1992). Emerging visions of the aesthetic process. Psychology,
semiology and philosophy. New York: Cambridge University Press.
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.
Francuz, P., Zaniewski, I., Augustynowicz, P., Kopiś, N., & Jankowski, T. (2018). Eye Movement
Correlates of Expertise in Visual Arts. Frontiers in human neuroscience, 12, 87.
Furnham, A., & Walker, J. (2001). Personality and judgements of abstract, pop art, and
representational paintings. European Journal of Personality, 15, 57-72.
Ganczarek, J., Pietras, K., & Rosiek, R. Subjective cognitive challenge predicts eye movements
during perception of contemporary paintings. Empirical Studies of the Arts
(under review).
Granell, A. (2016). The effect of contemporary art perception: Study of younger and older
adults’ art appreciation in museums experiences. Doctoral dissertation. Facultat
de Psicologia, Ciències de l’Educació i de l’Esport Blanquerna, Universitat Ramon
Llull, Barcelona.
Jakesch, M. & Leder, H. (2009). Finding meaning in art : Preferred levels of ambiguity in art
appreciation. The Quaterly Journal of Experimental Psychology 62(11), 2105-2112.
Jakesch, M., Leder, H., & Forster, M., (2013). Image Ambiguity and Fluency. PLoS ONE
8(9), 1-15
Kossowska, M., Hanusz, K., & Trejtowicz, M. (2012). Skrócona wersja Skali Potrzeby
Poznawczego Domknięcia. Dobór pozycji i walidacja skali [Short version of the
Need for Cognitive Closure Scale: Items selection and scale validation]. Psychologia
Społeczna, 7(1), 89-99.
Leder, H., Ring, A., & Dressler, S.G., (2013). See Me, Feel Me! Aesthetic Evaluations of Art
Portraits. Psychology of Aesthetics, Creativity, and the Arts, 7(4), 358-369.
Leder, H., Tinio, P.P., Brieber, D., Kröner, T., Jacobsen, T., & Rosenberg, R. (2018). Symmetry
Is Not a Universal Law of Beauty. Empirical Studies of the Arts, 0276237418777941.
Locher, P.J., Smith, J.K., & Smith, L.F. (2001). The influence of presentation format and
viewer training in the visual arts on the perception of pictorial and aesthetic qualities
of paintings. Perception, 30, 449-465.
Pelowsky, M., Markey, P., Forster, M., Gerger, G., & Leder, H. (2017). Move me, astonish
me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-
up processes in Art Perception (VIMAP) and corresponding affective, evaluative,
and neurophysiological correlates. Physics of Life Reviews, 21, 80-125.
Russell, P.A. (1994). Preferability, pleasingness, and interestingness: Relationships between
evaluative judgments in empirical aesthetics. Empirical Studies of the Arts,
12, 141-157.
Silvia, P.J. (2005).What is interesting? Exploring the appraisal structure of interest. Emotion
5(1), 89-102.
Silvia, P.J. (2006). Artistic training and interest in visual art: Applying the appraisal model
of aesthetic emotions. Empirical Studies of the Arts, 24, 139-161.
Silvia, P.J. (2010). Confusion and interest: The role of knowledge emotions in aesthetic
experience. Psychology of Aesthetics, Creativity, and the Arts, 4(2), 75-80.
Silvia, P.J., & Brown, E.M. (2007). Anger, disgust, and the negative aesthetic emotions:
Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity,
and the Arts 1(2), 100-106.
Szubielska, M., Niestorowicz, E., Bałaj, B. (2016). Wpływ figuratywości obrazu i zapoznania
się z informacją katalogową na percepcję estetyczną. Annales Universitatis Paedagogicae
Cracoviensis. Studia Psychologica, IX, 21-34.
Szubielska, M., Ratomska, M., Wójtowicz, M., Szymańska, A. (2018). The Effect of
Educational Workshops in an Art Gallery on Children’s Evaluation and Interpretation
of Contemporary Art. Empirical Studies of the Arts. https://doi.
org/10.1177/0276237418790917 (access 27.11.2018).
Tan, E.S. (2000). Emotion, art, and the humanities. In M. Lewis & J.M. Haviland-Jones
(Eds.), Handbook of emotions (2nd ed., pp. 116-134). New York: Guilford Press.
Webster, D.M., & Kruglanski, A.W. (1994). Individual differences in need for cognitive
closure. Journal of Personality and Social Psychology, 67(6), 1049-1062.
Wiersema, D.V., van der Schalk, J., & van Kleef, G.A. (2012). Who’s Afraid of Red, Yellow,
and Blue? Need for Cognitive Closure Predicts Aesthetic Preferences. , 6(2),
168-174.
Võ, M.L.H., & Henderson, J.M. (2009). Does gravity matter? Effects of semantic and syntactic
inconsistencies on the allocation of attention during scene perception. Journal
of Vision, 9(3), 24-24.
Võ, M.L.H., & Henderson, J.M. (2011). Object-scene inconsistencies do not capture gaze:
Evidence from the flash-preview moving-window paradigm. Attention, perception &
psychophysics 73(6), 1742-1753.
Võ, M.L.H., & Wolfe, J.M. (2013). Differential electrophysiological signatures of semantic
and syntactic scene processing. Psychological Science, 24(9), 1816-1823.
Zawadzki, B., Szczepaniak, P., & Strelau, J. (1995). Diagnoza psychometryczna pięciu wielkich
czynników osobowości: adaptacja kwestionariusza NEO-FFI Costy i McCrae’a
do warunków polskich [Psychometric diagnosis of the Five Factors Model: Polish
adaptation of NEO-FFI by Costa & McCrae]. Studia Psychologiczne, 33, 189-225.
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2018-12-01
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Pietras, K., & Ganczarek, J. (2018). Who’s interested in contemporary paintings with semantic and syntactic violations?. Annales Universitatis Paedagogicae Cracoviensis Studia Psychologica, 11, 88–97. https://doi.org/10.24917/20845596.11.6
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