Psychology Rearch, ISSN 2159-5542
August 2013, Vol. 3, No. 8, 425-438
Flexible Cognitive Control and Preferences for
Artistic Photographs*
John W. Mullennix, Chela L. Fallier, Kyle M. Mansueto清洁工的精神品质
研究主题University of Pittsburgh at Johnstown, Johnstown, USA
The goal of the prent study was to examine the relationship between flexible cognitive control and aesthetic
appreciation. Participants viewed black and white artistic photographs. They ud a visual scale to indicate their
preferences for the photographs and rated the photographs using five mantic differential scales. Participants also
performed a Stroop task, with trial-to-trial task performance analyzed to index the degree of flexible cognitive
control possd by each participant. The results showed little evidence that flexible cognitive control was a
significant factor affecting impressions and preferences for photographs. The results are discusd in terms of how
the degree of flexible cognitive control that a naive viewer posss may not be sufficient in and of itlf to
produce a different aesthetic experience.
女殇>动的四字成语Keywords: aesthetics, photograph processing, aesthetic appreciation
Introduction
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The psychological aspects of aesthetic experience have been studied for many years, with experimental approaches to aesthetics traced back to the beginnings of psychology in the 1800s (Fechner, 1876; Wundt,
1874). Berlyne (1971; 1974) is often credited with fomenting the modern era of experimental aesthetics, with
his theoretical framework focusing on the roles of reward and arousal (emotion) in people’s subjective
俆组词reactions to art. Berlyne’s (1971; 1974) collative-motivational model emphasized the dimensions of interest and
pleasure, which in turn were related to collative (structural) attributes of visual stimuli such as novelty and
complexity. He believed that the collative factors affected arousal and in turn affected viewers’ aesthetic
experiences.
Since the minal work of Berlyne (1971; 1974), theories about aesthetic appreciation have begun to incorporate concepts drawn from rearch on human cognition. As an example, the traditional information
processing approach to cognition has been incorporated into a comprehensive cognitive model of aesthetic
appreciation and judgment by Leder, Belke, Oeberts, and Augustin (2004). In Leder et al.’s (2004) model, the
perceiver of art progress through a quence of cognitive processing stages (perceptual analys, memory肥城龙山中学
integration, classification, mastering, and evaluation) which in turn continuously update the affective state of
*Acknowledgements: The authors would like to thank Michael D. Robinson from North Dakota State University and Darya
Zabelina from Northwestern University for their help and the u of a software program to run the Stroop task. This project was
supported by a College Rearch Council Grant from the University of Pittsburgh at Johnstown.
John W. Mullennix, Ph.D., professor, Department of Psychology, University of Pittsburgh at Johnstown.
Chela L. Fallier, University of Pittsburgh at Johnstown.要长高的征兆
Kyle M. Mansueto, University of Pittsburgh at Johnstown.
