Syftet med studie var att undersöka hur kunskap inom spelgrafik kan påverka en spelares “aesthetic experience”. ”Aesthetic experience” är en term som används för att beskriva den tankeprocess en människa genomgår när hen betraktar ett verk. Detta resulterar i en ”aesthetic judgement” och en ”aesthetic emotion”. Enligt den studie Leder m.fl. har gjort kan kunskap inom modern konst resultera i en positiv ”aesthetic emotion” när observatören betraktar modern konst. Studien undersökte om kunskap om spelgrafik kunde ge ett liknande resultat vid betraktandet av en spelmiljö. Till undersökningen skapades en artefakt i form av en 3D. Informanterna fick säga hur de mådde och vad de tyckte om scenen i början och slutet av undersökningen. Resultatet pekar på att informanterna hade en mer positiv ”aesthetic judgement” efter att ha analyserat scenen, medan deras ”aesthetic emotion” sällan ändrades. I ett framtida arbete skulle modellen kunna anpassas ytterligare till spelgrafik.

Aesthetic expressions have been seen as the manifest of human culture. The psychology of aesthetics have proposed various models, describing the various phenomena related to aesthetic experience, such as sensory pleasure derived from aesthetic stimuli, emotional response toward aesthetic depiction, cognitive mastering over aesthetic emotion, etc. However, further examination reveals current models have theoretical limits for the explanation of society-wide aesthetic preference due to limited scope of focus. Thus, the current project proposes a new theoretical framework to describe the process through which the society comes to converge on aesthetic preference. Examination of related theories and experimental evidence shows that the convergence process of our aesthetic preference is a function of several inter-related yet independent psychological mechanisms at the perceptual, affective, and cognitive stages of aesthetic processing. The proposed framework can inform future research in general psychology as well as other applications, such as the making of creative machines.Aesthetic expressions have been seen as the manifest of human culture. The psychology of aesthetics have proposed various models, describing the various phenomena related to aesthetic experience, such as sensory pleasure derived from aesthetic stimuli, emotional response toward aesthetic depiction, cognitive mastering over aesthetic emotion, etc. However, further examination reveals current models have theoretical limits for the explanation of society-wide aesthetic preference due to limited scope of focus. Thus, the current project proposes a new theoretical framework to describe the process through which the society comes to converge on aesthetic preference. Examination of related theories and experimental evidence shows that the convergence process of our aesthetic preference is a function of several inter-related yet independent psychological mechanisms at the perceptual, affective, and cognitive stages of aesthetic processing. The proposed framework can inform future research in general psychology as well as other applications, such as the making of creative machines.

Notre thèse se propose de définir l’action de l’émotion esthétique dans le processus art-thérapeutique à médiation plastique, auprès de sujets souffrant de troubles psychotiques ou de problématiques de limites. Nous l’observons dans sa relation à la perception des limites psycho-corporelles, dans un contexte de prise en charge en groupe en institution hospitalière. Notre étude relate ainsi une spécificité de la situation d’artiste dans le lien art-thérapeutique, qui inclut sa sensibilité esthétique, en miroir aux questionnements esthétiques du sujet créant. Notre hypothèse générale est que l’émotion esthétique est reliée aux processus d’accordage (Stern, 1989) entre l’art-thérapeute et les sujets du groupe art-thérapeutique, et qu’elle signifie la mise en mouvement des perceptions et représentations de contenance et de limites chez ces sujets. La recherche s’est déroulée en deux étapes, auprès de quatre groupes de sujets adolescents et deux groupes de sujets adultes. Une première phase a permis de recueillir des résultats préalables à notre recherche principale qui s’est déroulée auprès de trois groupes, et où nous avons animé les ateliers d’art-thérapie en présence d’une observatrice et d’une soignante. Le recueil de données a comporté deux objectifs : comprendre le rôle de l’émotion esthétique dans les mouvements transférentiels au sein du groupe et les effets thérapeutiques de ces processus, en relation aux processus créatifs et aux représentations formelles dans les œuvres (grilles d’observation, auto-questionnaires, notes cliniques) ; et enrichir l’objectivation de l’effet thérapeutique de cette démarche, avec des tests avant/après (tests projectifs pour les six groupes, et, pour l’un d’entre eux, tests de perception esthétique avec eye-tracking, dont nous présentons les premiers résultats en développement). Il est apparu notamment un négatif d’éprouvés entre l’art-thérapeute (étrangeté dans l’émotion esthétique) et les sujets (bien-être dans l’émotion esthétique, souvent en rapport au geste), ainsi qu’un lien potentiel entre ce négatif et l’apparition de frontières ou de contenants dans les œuvres, aux moments forts des séances. Nous avons développé particulièrement cet aspect dans notre thèse, en prenant en compte la dimension pulsionnelle en lien à notre approche de l’émotion esthétique, à la rencontre entre pulsion scopique, regard esthétique et regard en miroir. / Our thesis aims to define the influence of aesthetic emotion in the process of visual art therapy, on subjects suffering from psychotic disorders or boundary issues. We shall observe the way it relates to psycho-corporal boundaries, in a context where leadership of a group is assumed in hospital institution. Our study thereby details a peculiarity specific to the situation of the artist in art-therapeutic relationship, which involves his or her aesthetic sensibility, creating a mirror-effect with the aesthetic questions of the subject expressing their creativity. Our overall hypothesis is that of a link between aesthetic emotion and the bonding process (Stern, 1989) between the art-therapist and the subjects within the art-therapy group, and that this triggers perceptions and representations of boundaries among these subjects. The research took place in two stages, on four groups of adolescent subjects and two groups of adult subjects. The first phase enabled the collection of results produced prior to our initial research which focused on three groups, and during which we held art-therapy sessions in the presence of an observer and a carer. Data was collected for two goals : to understand the role of aesthetic emotion in transferential movements within the group and the therapeutic effects of these processes, in relation to the creative processes and on the formal representations in the artistic work (observation sheets, self-administered questionnaires, clinical notes) ; and to enrich the objectification of the therapeutic effect of this approach, with tests before/after (projective tests for the six groups, and, for one of them, aesthetic perception tests with eye-tracking, the first results of which are presented under development). An element of mirroring became apparent between the art-therapist (a strangeness in the aesthetic emotion) and the subjects (well-being in the aesthetic emotion, often in relation to gestures), as well as a potential connection between this mirroring and the appearance of boundaries within artistic works, at pivotal moments during sessions. We have paid special attention to this aspect in our thesis, by considering drive aspect in accordance with our examination of aesthetic emotion, at the meeting point between the scopic drive, the aesthetic gaze and its mirror effect.

藝術欣賞二階段模型所發現的第二階段美感提升現象，若根據流暢性理論加以解釋，為單純曝光造成流暢性提升而導致的結果，未涉及認知處理歷程的影響，然而情緒評估理論以及Leder等人（2004）的美感經驗與評價歷程神經模型，都強調美感經驗為認知與情感的交互作用。針對上述兩類不同的理論觀點，本研究的目的在於探討認知涉入在美感歷程中的重要性，同時亦嘗試瞭解美感經驗中認知與情緒的關係。本研究讓參與者欣賞不同時代、流派與國家的具象藝術畫作，共分成三個實驗。實驗一收集美感相關情緒詞彙，發展美感情緒量表；實驗二與實驗三延伸Locher等人（2007）之實驗設計，分別收集美感偏好與美感情緒的資料，包含顯性與隱性指標，欲從美感提升現象中檢驗認知涉入對兩種美感歷程產物的影響力。實驗二關心美感偏好隨時間的變化，結果顯示認知涉入有助於偏好的提升，而隱性偏好亦有相似的趨勢；實驗三則發現美感情緒並沒有隨呈現時間增加而提升，而認知涉入的影響力也較不明顯，臉部EMG測量則未能反映出隱性美感情緒。本研究也發現，國畫較西畫更顯著地出現美感偏好或情緒的提升現象且較受認知涉入影響，此外，主觀偏好與不偏好的西畫在美感偏好與正向情緒類別之結果中，皆有類似適應的效果，其中主觀偏好畫作隨時間增長而正向情緒減少、負向情緒增加。綜合而言，本研究結果支持認知涉入為美感偏好提升之要素，但是無法確認認知與情緒兩者之間的互動關係，此外，藝術欣賞的第二階段不只有美感提升的現象，亦有美感下降的現象。 / The increase of aesthetic preference over viewing time was found in the study of the two-stage model of art appreciation. This phenomenon could be interpreted by mere exposure effect on improvement of fluency, not involving the influence from the cognitive processes. However, some theories (Silvia, 2011; Leder et al., 2004) emphasized the interaction between cognition and emotion in aesthetic experience. Based on these two kinds of theoretical perspective, the purpose of this study is to explore the role of cognitive involvement in aesthetic processes, and to understand the relationship between cognition and emotion in aesthetic experience. There are three experiments in this study, using the figurative art paintings from different era, genre and countries as the material. In Experiment 1, the emotional adjectives were collected to develop the scale of aesthetic emotion. In Experiment 2 and 3, the effects of cognitive involvement on aesthetic preference and emotion were tested, respectively. We extended the experiment design from Locher et al. (2007) to manipulate the degree of cognitive involvement additionally, with both the explicit and implicit indexes measured. Overall, the results showed that cognitive involvement helped the increase of preference, but not of emotion, because there was no increase of emotion founded. In addition, the effect of cognitive involvement in Chinese paintings was more obvious than that in West paintings. We also found that there could be adaptation effect in aesthetic process. In conclusion, the importance of cognitive involvement in preference increase was supported. But we cannot confirm the interaction between cognition and emotion. In addition, not only the increase of aesthetic preference and emotion, but also the decrease of them could be found in the second stage of art appreciation.