艺术作为一个有意义的环境:美学参与和解释的整合模型
1Department of Social Science, University of Alaska Southeast, Juneau, AK, United States.
Frontiers in psychology
|February 6, 2026
概括
这项研究引入了一个新的框架,将艺术品视为动态的原始环境. 审美意义源于这些结构化空间内的体现互动,将焦点从静态对象转移到吸引人的环境中.
科学领域:
- 审美学 在审美学方面
- 认知科学 认知科学
- 艺术哲学 艺术哲学
背景情况:
- 传统的艺术理论通常将艺术品视为具有固定的含义的静态对象.
- 在理解美学体验的动态,交互性质方面存在差距.
- 嵌入式认知为感知和意义创造提供了新的视角.
研究的目的:
- 为理解美学体验提出一个新的框架.
- 将艺术作品概念化为动态的原始环境.
- 探索体现互动在美学意义中的作用.
主要方法:
- 开发了一个基于两个综合机制的框架:美学参与的远近连续和功能对美学立场.
- 应用了生态负担能力理论和合作原则中的概念.
- 分析了如何体现输入被解释为客观结构或沟通意义.
主要成果:
- 艺术作品被重新定义为结构化,动态的原始环境,邀请参与.
- 审美参与沿着远端-近端连续体发生,混合影像投影和感觉运动相互作用.
- 审美立场过体现的输入,确定它们是否被视为外部结构或内部,沟通意义.
结论:
- 审美意义来自于观众对艺术品作为一种意义导向的环境的体现性谈判.
- 艺术作品是动态的参与领域,而不是静态的信息.
- 该框架可以在各种艺术形式中推广,强调积极参与而不是被动接收.
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