美感与积极情绪的关系及对变化觉察的影响
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摘要
传统的认知加工研究为了能够更精准地重现人类的各信息加工阶段,通常剥离了价值判断和情感因素,事实上,情绪与认知随时随地都是相互作用和相辅相成的；并且,“爱美之心人皆有之”、“美无处不在”,美感是人类特有的重要的情绪体验,对信息的加工往往受到了个体美感状态和审美判断的影响。审美认知是伴随着美感体验和价值判断的高级信息加工方式,随着人类对美的需求的重视和认知心理学的发展,审美认知研究成为整合情感、价值判断等综合研究的重要途径。
在生活中人们经常探测不到事物的变化,这被称为变化盲视(change blindness);而成功地探测到变化,就是对变化的觉察,即被称为变化觉察(change detection)。变化觉察的研究不仅有重要的理论意义,比如对注意、视觉加工、记忆过程等领域产生了深远积极的影响,而且也与人们日常生活息息相关,因此,变化觉察的研究日益受到重视。影响变化觉察的因素众多,然而情绪因为并未受到重视,美感更是无人涉及。与此同时,积极情绪的拓展建构理论已经得到国内外许多研究的验证,近十几年来审美认知的研究也证明了美感对认知具有一定的增力性,因此,不同的情绪、美感体验状态下,被试对变化信息的加工极可能会受影响,本研究旨在探索变化觉察加工中情绪、美感的影响作用,是审美认知同时也是积极心理学的研究范畴。
积极心理学和情绪研究领域中,对于积极情绪还未有一个明确的界定,缺乏系统和整合性的理论。有研究者认为美感是最典型、最具代表性和概括力的积极情感。美感体验是外界事物作用于人的感官所产生的一种复杂的情感体验,心理学把美感的特征界定为一种愉悦的体验,它会促使人去趋近审美对象；另外,美感所带来的精神快乐会对人的生活、工作和人际关系都有促进作用；从局部的认知加工过程来看,它很可能会对认知加工产生不同的影响,或许促进,或许抑制。从美感体验的愉悦和趋近性质来看,美感体验应当是积极情绪,并且美感的功能与积极情绪的拓展建构理论是相吻合的,但遗憾的是很少有实证研究给予支持。若确定美感体验属于积极情绪范畴,则可以为美感对认知的增力性提供积极情绪研究的理论和实证基础。那么,所有的美感类型包括悲剧感是否都属于积极情绪范畴?积极情绪又是一个怎样的统一体?美感是否同积极情绪一样会对人的认知加工产生影响,也就是说美感的增力性是否从另外一个角度证明了积极情绪的拓展建构功能?积极情绪和美感是否会影响人们对变化信息的觉察?等等问题,很值得研究。
本论文包括3个主要研究。研究一(第2章)和研究二(第3章)就美感体验的情绪特征和自主生理反应特征进行了考察,从主观体验和生理反应两方面确定积极情绪与美感体验的关系,把美感体验纳入积极情绪范畴。研究三在研究一和二的基础上,运用积极情绪的研究范式和研究背景考察了情绪类型、美感对变化觉察的影响。
研究一包括3个实验,采用标准化的研究工具(IAPS和CAPS),考察不同美感形态在情绪各维度上有何特征。实验1和实验2发现,部分IAPS和CAPS图片确实能够唤起被试的不同美感体验；实验3表明四种美感体验类型在情绪维度上各有自己的特征；在效价维度上优美感、喜剧感、壮美感都是是积极情绪类型,悲剧感在效价维度上虽落入消极情绪范畴,但相关和回归分析却显示它在情绪维度各特征上与积极情绪更接近,也属于积极情绪,因此美感既是积极情绪类型,又不同于积极情绪,它包含了不愉悦的因素。
研究二包括了2个实验,以HR和GSR为指标,采取音乐和图片两类材料作为刺激,测量了不同审美状态下的自主生理反应情况。实验1让45名被试聆听4段音乐并并对音乐进行审美风格的划分,确定4段音乐分别能诱发人的不同类型的美感体验,这为实验2选取了听觉通道的实验材料。实验2采用2×4的实验设计,考察了不同通道中不同美感形态下的自主生理反应,结果是：不论是听觉还是视觉通道,4种审美风格的刺激都使得被试心率和皮肤电下降；不同的美感形态所引起的反应不同,这种特异性在视听两个通道皆有体现,证明具有跨通道的一致性；优美、壮美、悲剧、喜剧四种美感体验类型的生理反应不同于消极情绪,而更类似于积极情绪,再次证明了美感体验是积极情绪。
研究三包括4个实验。实验1发现不同情绪启动条件下对方向变化的觉察反应时没有显著差异；实验2却证明了审美状态下相对于非审美的体验状态,对方向的变化觉察反应更快；实验3证明了颜色的加工是自动加工,不受提示范围的影响；实验4发现对颜色变化的觉察不受美感状态的影响。从以上实验结果可以推论：美感对变化觉察的影响很可能发生在注意阶段,这与审美的认知神经机制研究的结果是一致的。
综合起来总结论如下：
1.四种美感类型在情绪各维度上各有特征,优美感、壮美感、喜剧感具有高愉悦度的特征,相对应的在优势和唤醒度上也都较高,这与高愉悦度通常会带来较高的优势度和唤醒度的情绪固有特征是一致的。
2.积极情绪愉悦度与各美感类型的感受程度显著相关且系数最高,而与消极情绪愉悦度相关则皆不显著,且各美感类型愉悦度与消极情绪愉悦度差异都及其显著；回归分析中只有积极情绪愉悦度对各美感体验形态具有显著预测作用,说明各美感形态都应当属于积极情绪范畴。
3.部分情绪图片库(IAPS和CAPS)的图片具有唤起优美、壮美、喜剧、悲剧各类型美感体验的功能,开拓了了图片库的功能。
4.不同美感体验类型各有其生理反应特征,并且通道对心率和皮肤电反应都不存在单纯主效应,说明各美感类型自主生理反应具有跨视觉、听觉通道的一致性。
5.各种审美风格刺激所诱发的自主生理反应包括心率和皮肤电都呈现下降趋势,与积极情绪相似,而消极情绪则引起的心率和皮肤电显著上升,这从生理反应角度说明了美感是积极情绪。
6.在积极、中立、消极状态下被试对方向的觉察反应时差异不显著,但是在审美比非审美状态下的被试变化觉察反应时存在显著性差异,说明积极情绪对变化觉察的影响作用仅限于某些特定的类型；审美状态下与非审美状态下变化觉察反应时的差异只出现在大注意范围内,而在小注意范围内则不存在,说明美感启动对变化觉察的影响通过注意范围起作用。
7.在大注意范围内,专业组的觉察速度显著快于普通被试,而在小注意范围内两组之间并未有显著差异,说明专业训练通过改变注意范围而影响变化觉察的速度。
8.对颜色的变化觉察反应时在不同提示线索条件下无显著差异,说明对颜色的加工是自动加工;审美状态和非审美状态下被试对于颜色的变化觉察反应时不存在显著差异,说明美感对变化觉察的影响发生在注意阶段。
本研究的理论意义在于：依据美感与积极情绪的关系界定了积极情绪的定义；通过对变化觉察的影响研究为积极心理学的拓展—建构理论提供了实证依据和补充；增加了美感的诱发工具和测量指标,拓展了情绪图片库的功能,首次对美感的生理反应进行测量。在实践上为艺术教育、艺术心理治疗、艺术设计训练提供借鉴；有利健全人格的塑造；为视觉察相关的实践领域提供参考；有助人们对模糊审美信息加工的理解。
但是研究中也存在着局限。没能解决美感对变化觉察影响的机制；美感与认知活动要通过审美价值判断起作用,本研究还未深入到价值判断的层面上;选择材料更多是图片库的静态图片,缺乏与现实生活更贴近的动态实验材料；被试也限于大学生,在结论推广会有局限；美感体验来自对于审美刺激的主观反应,研究中没有将美感与具有审美特征的刺激属性结合起来,探索二者的交互作用。
Traditional researchs on cognitive processing order to more accurately present the human information processing stage, usually stripped out value judgments and emotional factors.In fact, emotion and cognition interact and complement each other anytime,anywhere. Futhermore, "everyone love beauty","beauty exist everywhere".Aesthetic experience is the importmant and unique experice of human being. The subjects' aesthetic emotion and judgments always put influence on their cognitive processing. Aesthetic cognition is a superior processing that accompanied by the value of aesthetic experience and judgments.With the development of cognitive psychology and the awareness of beauty, It will become the import way to integrationally explore the relationship between emotion, value judgment and cognition.
In our daily life, people often fail to detect changes, known as change blindness, and if successfully detect changes, which known as change detection. Research on this subject is not only closely related with our life but also has important theoretical significance, and it has made positive impact on many fields such as attention, visual processing and memory processes. Traditional study on cognitive processing usually stripped of value judgments and emotional factors during their researches, in order to show more accurately on every single information processing stages. But in fact, the emotional and cognitive impact on each other all the time. In addition, positive emotions not yet have a unified definition. Some researchers believe that aesthetic is the most typical and most representative positive affect. Are all kinds of aesthetic styles including the sense of tragedy are positive emotion? What is the relationship between positive emotion and aesthetic experience? What kind of unity is positive emotion? Does aesthetic feeling impact the cognitive progress? Does it impact people to detect the changes? These questions are worth to be researched.
Aesthetic experience is complex feeling that generated by the object and effecting persons'sense organ. Psychological characteristics of the aesthetic experience are defined as a pleasurable experience, will promote people to closer to the aesthetic object. Overall, the spirit joy brought by aesthetic feeling have positive effect on human life, work and human relationships; From the local view of cognitive processing, aesthetic as a category of positive emotion, it is likely to have different impact on cognitive processing, it might facilitate, or perhaps inhibited. Which is consistent with the "Broaden and build" theory of positive emotion. But there is little empirical research to support it. Therefore, the study will take aesthetic experience, a type of positive emotion, as the main variable, to examine if it would promote people's ability of change detection. This study does not only support the "Broaden and build" theory from a new angle, but also find a new member of the forecast model of change detection.
This study includes three main researches. Aesthetic experience as an emotional feeling, it must have three kinds of response:subjective experience, facial expressions and physiological responses, so if want to make empirical study on aesthetic experience, firstly may explore the emotional characteristics and physiological responses of it. The purposes of research I(chapter 3) and research II(chapter 4) are to measure the emotional characteristics and autonomous physiological responses of aesthetic experience, then makes sure the relationship between aesthetic experience and positive emotion. The research III is to explore the aesthetic impact on change detection, basing on the research I and II, using the paradigm and background of positive emotion.
In chapter 2(research I), Using IAPS (International Affective Pictures System) and CAPS (Chinese Affective Pictures System) as tools, we assume that there is corresponding relationship between positive emotion and aesthetic experience and identification emotional characteristics of four aesthetic features. Experiment 1 show that the some pictures from affective picture systems did arouse subjects'different aesthetic experiences and the pictures which are categorized into concinnity, comedy, magnificence and tragedy also trigger subjects corresponding aesthetic experiences. In the second experiment, pictures selected from the first experiment are used to investigate the emotional characteristics of the four aesthetic styles.The results show that experiences of concinnity, comedy, magnificence are types of positive emotions according to emotional valence. Valence score of tragedy falls within the scope of the negative emotions, but it is different from the negative emotions. Correlation test and regression analysis show that it is much closer to positive feelings. The conclusion is that aesthetic experience is a positive emotional type, but not equivalent to a positive mood, it contains unpleasant factor.
In Chapter 3(research II), took HR and GSR as indexes, music and visual pictures as stimulus to measured subjects' autonomous physiological reactions under four different styles of aesthetic. In experiment 1, let subjects listen to four different kinds of music, let them certain the aesthetic style of these music. The results show that these four different music really induced subjects corresponding aesthetic experiences, which selected the materials in auditory channel for the experiment 2. Experiment 2 used 2(visual and auditory channel)×4 (four aesthetic styles) experimental design to measure autonomous physiological responses. The result is whether in auditory or visual channel, stimulus of four aesthetic styles all makes the heart rate and skin conductance decrease, which indicate that aesthetic does have very relaxed function; Different aesthetic styles do induce different physiological responses and they have cross-channel consistency. Physiological responses of concinnity, magnificence, tragedy, comedy aesthetic experience are different from negative emotion, but more similar to the positive sentiment, proving once again that aesthetic experience is belong to positive emotion.
Chapter 4(research III) includes four experiments. Experiment 1 found that reaction of change detection was no significant difference under different affective priming conditions. Experiment 2 showed than subjects change detection responses were faster under aesthetic state than ugly state. Experiment 3 proved that the color processing is automatically processed without the impact of the cue. In experiment 4 we compared the reaction time of color change detection; the color change detection was independent to aesthetic state. So we can infer that the aesthetic impact on the change detection is likely to occur in the attention phase, which is consistent with conclusion from study on the neural cognitive mechanisms of aesthetic, they have proved the aesthetic was a conscious cognitive activities.
In a word, the study's general conclusion is as follows:
1. The four types of aesthetic experience have their individual features on the three emotional dimensions,and which meet the law of emotion.
2.Pleasure of positive emotion and the four types of aesthetic experience are significantly correlated and the coefficient are the highest, but not significantly with the negative emotion, and pleasure of four types of aesthetic experience are significantly different from the negative emotion; Rregression analysis show only positive emotional valence can predict the aesthetic experience, which illustrate all kinds of aesthetic expericence including comedy, tragedy, concinnity, magnificence should be positive affective.
3. A part pictures from the affective systems (IAPS & CAPS) do have the function to induce the aesthetic experience。
4. Different styles of aesthetic experience have its specific physiological mechanism, and the different channel has no simple effect, which indicatie their physiological autonomous responses are consistent cross visual-auditory channel.
5. physiological responses of the four aesthetic styles are similar to the positive affectinve, HR and GSR evoked by the aesthetic experience and the positive affevtive are significantly lower than negative affective, which indicatie that aesthetic experience is belong to positive emotion too.
6. The change detection RT aren't significant difference in positive, neutral, negative affective, but change detection RT under aesthetic state is significantly faster than under the ugly state. we can infer that only some special types of positive affective have impact on the change detection, for example aesthetic experience. The differentence between the aesthetic and ugly state only be significant in the bigger attention scope, but no in the small scope, which indicate that the aesthetic experience impact on the change detection depending on the attention scope.
7. In the bigger attention scope, the professional group's RT is faster than the normal group's, but they aren't different in the small scope, which show the expertise impact the reaction time of change detection through changing attention scope.
8. The cue have no effect on the color change detection RT, it shows that the color processing is automatic; The change detection RT in the aesthetic and ugly isn't significantly different, which indicate that aesthetic impact on the change detection is likely to occur in the attention phase, but no in the pre-phase.
The theoretical significance of this study is:to provide an empirical basis for "broaden and build" theory in a new view; to develop measurement indicators and tools for aesthetic experience; to deepen the relationship between emotion and cognition. The practical of the study is: to give reference for arts education, art therapy, art and design training; to provide theoretical and empirical evidence for the traffic environment settings and advertising design.
But there are limitations in our study:we didn't ascertain the mechanism of aesthetic impact on the change detection; The aesthetic feeling would have influence on the cognitive activity through aesthetic judgment, but we didn't go deep into value judgments; The experiment materials are static images from the systems of affective pictures; The subjects are only university students, so it will be limit to promote the conclusion; Aesthetic experience are the subjective responses to aesthetic stimuli, we did not explore the interaction between the aesthetic experience and the aesthetic attributes of stimulus.
在生活中人们经常探测不到事物的变化,这被称为变化盲视(change blindness);而成功地探测到变化,就是对变化的觉察,即被称为变化觉察(change detection)。变化觉察的研究不仅有重要的理论意义,比如对注意、视觉加工、记忆过程等领域产生了深远积极的影响,而且也与人们日常生活息息相关,因此,变化觉察的研究日益受到重视。影响变化觉察的因素众多,然而情绪因为并未受到重视,美感更是无人涉及。与此同时,积极情绪的拓展建构理论已经得到国内外许多研究的验证,近十几年来审美认知的研究也证明了美感对认知具有一定的增力性,因此,不同的情绪、美感体验状态下,被试对变化信息的加工极可能会受影响,本研究旨在探索变化觉察加工中情绪、美感的影响作用,是审美认知同时也是积极心理学的研究范畴。
积极心理学和情绪研究领域中,对于积极情绪还未有一个明确的界定,缺乏系统和整合性的理论。有研究者认为美感是最典型、最具代表性和概括力的积极情感。美感体验是外界事物作用于人的感官所产生的一种复杂的情感体验,心理学把美感的特征界定为一种愉悦的体验,它会促使人去趋近审美对象；另外,美感所带来的精神快乐会对人的生活、工作和人际关系都有促进作用；从局部的认知加工过程来看,它很可能会对认知加工产生不同的影响,或许促进,或许抑制。从美感体验的愉悦和趋近性质来看,美感体验应当是积极情绪,并且美感的功能与积极情绪的拓展建构理论是相吻合的,但遗憾的是很少有实证研究给予支持。若确定美感体验属于积极情绪范畴,则可以为美感对认知的增力性提供积极情绪研究的理论和实证基础。那么,所有的美感类型包括悲剧感是否都属于积极情绪范畴?积极情绪又是一个怎样的统一体?美感是否同积极情绪一样会对人的认知加工产生影响,也就是说美感的增力性是否从另外一个角度证明了积极情绪的拓展建构功能?积极情绪和美感是否会影响人们对变化信息的觉察?等等问题,很值得研究。
本论文包括3个主要研究。研究一(第2章)和研究二(第3章)就美感体验的情绪特征和自主生理反应特征进行了考察,从主观体验和生理反应两方面确定积极情绪与美感体验的关系,把美感体验纳入积极情绪范畴。研究三在研究一和二的基础上,运用积极情绪的研究范式和研究背景考察了情绪类型、美感对变化觉察的影响。
研究一包括3个实验,采用标准化的研究工具(IAPS和CAPS),考察不同美感形态在情绪各维度上有何特征。实验1和实验2发现,部分IAPS和CAPS图片确实能够唤起被试的不同美感体验；实验3表明四种美感体验类型在情绪维度上各有自己的特征；在效价维度上优美感、喜剧感、壮美感都是是积极情绪类型,悲剧感在效价维度上虽落入消极情绪范畴,但相关和回归分析却显示它在情绪维度各特征上与积极情绪更接近,也属于积极情绪,因此美感既是积极情绪类型,又不同于积极情绪,它包含了不愉悦的因素。
研究二包括了2个实验,以HR和GSR为指标,采取音乐和图片两类材料作为刺激,测量了不同审美状态下的自主生理反应情况。实验1让45名被试聆听4段音乐并并对音乐进行审美风格的划分,确定4段音乐分别能诱发人的不同类型的美感体验,这为实验2选取了听觉通道的实验材料。实验2采用2×4的实验设计,考察了不同通道中不同美感形态下的自主生理反应,结果是：不论是听觉还是视觉通道,4种审美风格的刺激都使得被试心率和皮肤电下降；不同的美感形态所引起的反应不同,这种特异性在视听两个通道皆有体现,证明具有跨通道的一致性；优美、壮美、悲剧、喜剧四种美感体验类型的生理反应不同于消极情绪,而更类似于积极情绪,再次证明了美感体验是积极情绪。
研究三包括4个实验。实验1发现不同情绪启动条件下对方向变化的觉察反应时没有显著差异；实验2却证明了审美状态下相对于非审美的体验状态,对方向的变化觉察反应更快；实验3证明了颜色的加工是自动加工,不受提示范围的影响；实验4发现对颜色变化的觉察不受美感状态的影响。从以上实验结果可以推论：美感对变化觉察的影响很可能发生在注意阶段,这与审美的认知神经机制研究的结果是一致的。
综合起来总结论如下：
1.四种美感类型在情绪各维度上各有特征,优美感、壮美感、喜剧感具有高愉悦度的特征,相对应的在优势和唤醒度上也都较高,这与高愉悦度通常会带来较高的优势度和唤醒度的情绪固有特征是一致的。
2.积极情绪愉悦度与各美感类型的感受程度显著相关且系数最高,而与消极情绪愉悦度相关则皆不显著,且各美感类型愉悦度与消极情绪愉悦度差异都及其显著；回归分析中只有积极情绪愉悦度对各美感体验形态具有显著预测作用,说明各美感形态都应当属于积极情绪范畴。
3.部分情绪图片库(IAPS和CAPS)的图片具有唤起优美、壮美、喜剧、悲剧各类型美感体验的功能,开拓了了图片库的功能。
4.不同美感体验类型各有其生理反应特征,并且通道对心率和皮肤电反应都不存在单纯主效应,说明各美感类型自主生理反应具有跨视觉、听觉通道的一致性。
5.各种审美风格刺激所诱发的自主生理反应包括心率和皮肤电都呈现下降趋势,与积极情绪相似,而消极情绪则引起的心率和皮肤电显著上升,这从生理反应角度说明了美感是积极情绪。
6.在积极、中立、消极状态下被试对方向的觉察反应时差异不显著,但是在审美比非审美状态下的被试变化觉察反应时存在显著性差异,说明积极情绪对变化觉察的影响作用仅限于某些特定的类型；审美状态下与非审美状态下变化觉察反应时的差异只出现在大注意范围内,而在小注意范围内则不存在,说明美感启动对变化觉察的影响通过注意范围起作用。
7.在大注意范围内,专业组的觉察速度显著快于普通被试,而在小注意范围内两组之间并未有显著差异,说明专业训练通过改变注意范围而影响变化觉察的速度。
8.对颜色的变化觉察反应时在不同提示线索条件下无显著差异,说明对颜色的加工是自动加工;审美状态和非审美状态下被试对于颜色的变化觉察反应时不存在显著差异,说明美感对变化觉察的影响发生在注意阶段。
本研究的理论意义在于：依据美感与积极情绪的关系界定了积极情绪的定义；通过对变化觉察的影响研究为积极心理学的拓展—建构理论提供了实证依据和补充；增加了美感的诱发工具和测量指标,拓展了情绪图片库的功能,首次对美感的生理反应进行测量。在实践上为艺术教育、艺术心理治疗、艺术设计训练提供借鉴；有利健全人格的塑造；为视觉察相关的实践领域提供参考；有助人们对模糊审美信息加工的理解。
但是研究中也存在着局限。没能解决美感对变化觉察影响的机制；美感与认知活动要通过审美价值判断起作用,本研究还未深入到价值判断的层面上;选择材料更多是图片库的静态图片,缺乏与现实生活更贴近的动态实验材料；被试也限于大学生,在结论推广会有局限；美感体验来自对于审美刺激的主观反应,研究中没有将美感与具有审美特征的刺激属性结合起来,探索二者的交互作用。
Traditional researchs on cognitive processing order to more accurately present the human information processing stage, usually stripped out value judgments and emotional factors.In fact, emotion and cognition interact and complement each other anytime,anywhere. Futhermore, "everyone love beauty","beauty exist everywhere".Aesthetic experience is the importmant and unique experice of human being. The subjects' aesthetic emotion and judgments always put influence on their cognitive processing. Aesthetic cognition is a superior processing that accompanied by the value of aesthetic experience and judgments.With the development of cognitive psychology and the awareness of beauty, It will become the import way to integrationally explore the relationship between emotion, value judgment and cognition.
In our daily life, people often fail to detect changes, known as change blindness, and if successfully detect changes, which known as change detection. Research on this subject is not only closely related with our life but also has important theoretical significance, and it has made positive impact on many fields such as attention, visual processing and memory processes. Traditional study on cognitive processing usually stripped of value judgments and emotional factors during their researches, in order to show more accurately on every single information processing stages. But in fact, the emotional and cognitive impact on each other all the time. In addition, positive emotions not yet have a unified definition. Some researchers believe that aesthetic is the most typical and most representative positive affect. Are all kinds of aesthetic styles including the sense of tragedy are positive emotion? What is the relationship between positive emotion and aesthetic experience? What kind of unity is positive emotion? Does aesthetic feeling impact the cognitive progress? Does it impact people to detect the changes? These questions are worth to be researched.
Aesthetic experience is complex feeling that generated by the object and effecting persons'sense organ. Psychological characteristics of the aesthetic experience are defined as a pleasurable experience, will promote people to closer to the aesthetic object. Overall, the spirit joy brought by aesthetic feeling have positive effect on human life, work and human relationships; From the local view of cognitive processing, aesthetic as a category of positive emotion, it is likely to have different impact on cognitive processing, it might facilitate, or perhaps inhibited. Which is consistent with the "Broaden and build" theory of positive emotion. But there is little empirical research to support it. Therefore, the study will take aesthetic experience, a type of positive emotion, as the main variable, to examine if it would promote people's ability of change detection. This study does not only support the "Broaden and build" theory from a new angle, but also find a new member of the forecast model of change detection.
This study includes three main researches. Aesthetic experience as an emotional feeling, it must have three kinds of response:subjective experience, facial expressions and physiological responses, so if want to make empirical study on aesthetic experience, firstly may explore the emotional characteristics and physiological responses of it. The purposes of research I(chapter 3) and research II(chapter 4) are to measure the emotional characteristics and autonomous physiological responses of aesthetic experience, then makes sure the relationship between aesthetic experience and positive emotion. The research III is to explore the aesthetic impact on change detection, basing on the research I and II, using the paradigm and background of positive emotion.
In chapter 2(research I), Using IAPS (International Affective Pictures System) and CAPS (Chinese Affective Pictures System) as tools, we assume that there is corresponding relationship between positive emotion and aesthetic experience and identification emotional characteristics of four aesthetic features. Experiment 1 show that the some pictures from affective picture systems did arouse subjects'different aesthetic experiences and the pictures which are categorized into concinnity, comedy, magnificence and tragedy also trigger subjects corresponding aesthetic experiences. In the second experiment, pictures selected from the first experiment are used to investigate the emotional characteristics of the four aesthetic styles.The results show that experiences of concinnity, comedy, magnificence are types of positive emotions according to emotional valence. Valence score of tragedy falls within the scope of the negative emotions, but it is different from the negative emotions. Correlation test and regression analysis show that it is much closer to positive feelings. The conclusion is that aesthetic experience is a positive emotional type, but not equivalent to a positive mood, it contains unpleasant factor.
In Chapter 3(research II), took HR and GSR as indexes, music and visual pictures as stimulus to measured subjects' autonomous physiological reactions under four different styles of aesthetic. In experiment 1, let subjects listen to four different kinds of music, let them certain the aesthetic style of these music. The results show that these four different music really induced subjects corresponding aesthetic experiences, which selected the materials in auditory channel for the experiment 2. Experiment 2 used 2(visual and auditory channel)×4 (four aesthetic styles) experimental design to measure autonomous physiological responses. The result is whether in auditory or visual channel, stimulus of four aesthetic styles all makes the heart rate and skin conductance decrease, which indicate that aesthetic does have very relaxed function; Different aesthetic styles do induce different physiological responses and they have cross-channel consistency. Physiological responses of concinnity, magnificence, tragedy, comedy aesthetic experience are different from negative emotion, but more similar to the positive sentiment, proving once again that aesthetic experience is belong to positive emotion.
Chapter 4(research III) includes four experiments. Experiment 1 found that reaction of change detection was no significant difference under different affective priming conditions. Experiment 2 showed than subjects change detection responses were faster under aesthetic state than ugly state. Experiment 3 proved that the color processing is automatically processed without the impact of the cue. In experiment 4 we compared the reaction time of color change detection; the color change detection was independent to aesthetic state. So we can infer that the aesthetic impact on the change detection is likely to occur in the attention phase, which is consistent with conclusion from study on the neural cognitive mechanisms of aesthetic, they have proved the aesthetic was a conscious cognitive activities.
In a word, the study's general conclusion is as follows:
1. The four types of aesthetic experience have their individual features on the three emotional dimensions,and which meet the law of emotion.
2.Pleasure of positive emotion and the four types of aesthetic experience are significantly correlated and the coefficient are the highest, but not significantly with the negative emotion, and pleasure of four types of aesthetic experience are significantly different from the negative emotion; Rregression analysis show only positive emotional valence can predict the aesthetic experience, which illustrate all kinds of aesthetic expericence including comedy, tragedy, concinnity, magnificence should be positive affective.
3. A part pictures from the affective systems (IAPS & CAPS) do have the function to induce the aesthetic experience。
4. Different styles of aesthetic experience have its specific physiological mechanism, and the different channel has no simple effect, which indicatie their physiological autonomous responses are consistent cross visual-auditory channel.
5. physiological responses of the four aesthetic styles are similar to the positive affectinve, HR and GSR evoked by the aesthetic experience and the positive affevtive are significantly lower than negative affective, which indicatie that aesthetic experience is belong to positive emotion too.
6. The change detection RT aren't significant difference in positive, neutral, negative affective, but change detection RT under aesthetic state is significantly faster than under the ugly state. we can infer that only some special types of positive affective have impact on the change detection, for example aesthetic experience. The differentence between the aesthetic and ugly state only be significant in the bigger attention scope, but no in the small scope, which indicate that the aesthetic experience impact on the change detection depending on the attention scope.
7. In the bigger attention scope, the professional group's RT is faster than the normal group's, but they aren't different in the small scope, which show the expertise impact the reaction time of change detection through changing attention scope.
8. The cue have no effect on the color change detection RT, it shows that the color processing is automatic; The change detection RT in the aesthetic and ugly isn't significantly different, which indicate that aesthetic impact on the change detection is likely to occur in the attention phase, but no in the pre-phase.
The theoretical significance of this study is:to provide an empirical basis for "broaden and build" theory in a new view; to develop measurement indicators and tools for aesthetic experience; to deepen the relationship between emotion and cognition. The practical of the study is: to give reference for arts education, art therapy, art and design training; to provide theoretical and empirical evidence for the traffic environment settings and advertising design.
But there are limitations in our study:we didn't ascertain the mechanism of aesthetic impact on the change detection; The aesthetic feeling would have influence on the cognitive activity through aesthetic judgment, but we didn't go deep into value judgments; The experiment materials are static images from the systems of affective pictures; The subjects are only university students, so it will be limit to promote the conclusion; Aesthetic experience are the subjective responses to aesthetic stimuli, we did not explore the interaction between the aesthetic experience and the aesthetic attributes of stimulus.
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