Is this a "Fettecke" or just a "greasy corner"? About the capability of laypersons to differentiate between art and non-art via object's originality

被引:13
作者
Haertel, Manuela [1 ]
Carbon, Claus-Christian [1 ,2 ]
机构
[1] Univ Bamberg, Dept Gen Psychol & Methodol, Bamberg, Bavaria, Germany
[2] Bamberg Grad Sch Affect & Cognit Sci BaGrACS, Bamberg, Germany
关键词
empirical aesthetics; visual art; context; aesthetic appreciation; kitsch; originality; expertise; innovativeness; contemporary art; AESTHETIC APPRECIATION; WORD USAGE; VISUAL ART; PAINTINGS; PLEASURE; PERCEPTION; SPECIFICITY; EXPERTISE; PICTORIAL; ARTWORKS;
D O I
10.1068/i0664
中图分类号
B84 [心理学];
学科分类号
04 ; 0402 ;
摘要
Which components are needed to identify an object as an artwork, particularly if it is contemporary art? A variety of factors determining aesthetic judgements have been identified, among them stimulus-related properties such as symmetry, complexity and style, but also person-centred as well as context-dependent variables. We were particularly interested in finding out whether laypersons are at all able to distinguish between pieces of fine art endorsed by museums and works not displayed by galleries and museums. We were also interested in analysing the variables responsible for distinguishing between different levels of artistic quality. We ask untrained (Exp. 1) as well as art-trained (Exp. 2) people to rate a pool of images comprising contemporary art plus unaccredited objects with regard to preference, originality, ambiguity, understanding and artistic quality. Originality and ambiguity proved to be the best predictor for artistic quality. As the concept of originality is tightly linked with innovativeness, a property known to be appreciated only by further, and deep, elaboration (Carbon, 2011 i-Perception, 2, 708-719), it makes sense that modern artworks might be cognitively qualified as being of high artistic quality but are meanwhile affectively devaluated or even rejected by typical laypersons-at least at first glance.
引用
收藏
页码:602 / 610
页数:9
相关论文
共 38 条
[1]   The Fluency Amplification Model: Fluent stimuli show more intense but not evidently more positive evaluations [J].
Albrecht, Sabine ;
Carbon, Claus-Christian .
ACTA PSYCHOLOGICA, 2014, 148 :195-203
[2]  
[Anonymous], 1968, SEMANTIC MEMORY
[3]  
[Anonymous], 2007, CHOICE REV ONLINE, DOI DOI 10.5860/CHOICE.44-3029
[4]  
[Anonymous], 1999, J CONSCIOUSNESS STUD
[5]   Artful terms: A study on aesthetic word usage for visual art versus film and music [J].
Augustin, M. Dorothee ;
Carbon, Claus-Christian ;
Wagemans, Johan .
I-PERCEPTION, 2012, 3 (05) :319-337
[6]   All is beautiful? Generality vs. specificity of word usage in visual aesthetics [J].
Augustin, M. Dorothee ;
Wagemans, Johan ;
Carbon, Claus-Christian .
ACTA PSYCHOLOGICA, 2012, 139 (01) :187-201
[7]   When a Picasso is a "Picasso": The entry point in the identification of visual art [J].
Belke, B. ;
Leder, H. ;
Harsanyi, G. ;
Carbon, C. C. .
ACTA PSYCHOLOGICA, 2010, 133 (02) :191-202
[8]   Perceptual pleasure and the brain [J].
Biederman, I ;
Vessel, EA .
AMERICAN SCIENTIST, 2006, 94 (03) :247-253
[9]   A Model for Haptic Aesthetic Processing and Its Implications for Design [J].
Carbon, Claus-Christian ;
Jakesch, Martina .
PROCEEDINGS OF THE IEEE, 2013, 101 (09) :2123-2133
[10]   Cognitive mechanisms for explaining dynamics of aesthetic appreciation [J].
Carbon, Claus-Christian .
I-PERCEPTION, 2011, 2 (07) :708-719