服装颜色明度组合的审美评价:行为学与电生理学研究
Aesthetic Evaluation of Clothing Color Brightness Combination: Behavioral and Electrophysiological Study
DOI: 10.12677/AP.2016.65083, PDF, HTML, XML,  被引量 下载: 1,883  浏览: 5,311 
作者: 蔡罗蕊:苏州大学教育学院,江苏 苏州
关键词: 颜色明度组合服装审美事件相关电位P2Color Brightness Combinations Clothing Aesthetics ERP P2
摘要: 探究服装颜色组合和审美判断间关系可以使用行为学和电生理学研究方法,本研究旨在探究服装颜色组合与审美评价间的关系。本研究以颜色组合的两件式套装作为审美评估的刺激材料,记录个体在评估过程中的行为学和电生理学数据。结果表明,明度对比度越高,得到的审美评价就越低;早期额区、顶区和中央区出现了明显的P2成分,不美的颜色组合诱发了比美的颜色组合更大的波幅,提示在对不美的颜色组合进行加工、形成颜色印象的过程中,个体调动了比美的颜色组合更多的认知资源。晚期P300成分并不显著,但在审美决策过程中发挥了重要作用。本研究结果显示,P2和P300可以作为服装颜色审美的标志性事件相关电位成分。
Abstract: Behavioral and electrophysiological measures can be used to investigate the relationship between color combinations of clothing and aesthetic evaluation. In this paper, the purpose was to focus on the correlation between color combinations of clothing and aesthetic judgments. In the present study, four level contrast colors were combined in a two-piece suit as stimuli. Behavioral and electrophysiological data were recorded during the course of aesthetic evaluation. Results show that the higher the contrast of color brightness is, the less beautiful the clothing inclines to. In the early period, P2 components are very remarkable in the frontal, central and parietal areas, and the larger cognitive resource is induced for the less beautiful color combinations than the beautiful ones in the process. In the late period, P300 component isn’t remarkable, but plays an imperative role in the decision-making aesthetic affirmation. The findings in present research imply that P2 and P300 may be regarded as the landmark components for aesthetic evaluation of clothing colors.
文章引用:蔡罗蕊 (2016). 服装颜色明度组合的审美评价:行为学与电生理学研究. 心理学进展, 6(5), 636-643. http://dx.doi.org/10.12677/AP.2016.65083

参考文献

[1] Berlyne, D. E. (1970). Novelty, Complexity and Hedonic Value. Perception & Psychophysics, 8, 279-286.
http://dx.doi.org/10.3758/BF03212593
[2] Camgöz, N., Yerner, C., & Güvenç, D. (2002). Effects of Hue, Saturation, and Brightness on Preference. Color Research and Application, 27, 199-207.
http://dx.doi.org/10.1002/col.10051
[3] Carretié, L., Mercado, F., Tapia, M., & Hinojosa, J. A. (2001). Emotion, Attention, and the “Negativity Bias”, Studied through Event-Related Potentials. International Journal of Psychophysiology, 41, 75-85.
http://dx.doi.org/10.1016/s0167-8760(00)00195-1
[4] Cupchik, G. C., & Laszlo, J. (1992). Emerging Visions of the Aesthetic Process Psychology Semiology and Philosophy. Cambridge: Cambridge University Press.
[5] Deng, X. Y., Hui, S. K., & Hutchinson, J. W. (2010). Consumer Preferences for Color Combinations: An Empirical Analysis of Simi-larity-Based Color Relationships. Journal of Consumer Psychology, 20, 476-484.
http://dx.doi.org/10.1016/j.jcps.2010.07.005
[6] Doughty, J. C. (1968). The Art of Fashion Colour Forecasting. Textile Institute & Industry, 6, 97.
[7] Handy, T. C., Smilek, D., Geiger, L., Liu, C., & Schooler, J. W. (2008). ERP Evidence for Rapid Hedonic Evaluation of Logos. Journal of Cognitive Neuroscience, 22, 124-138.
http://dx.doi.org/10.1162/jocn.2008.21180
[8] Jacobsen, T., Schubotz, R. I., Höfel, L., Cramon, D. Y. (2006). Brain Correlates of Aesthetic Judgment of Beauty. NeuroImage, 29, 276-285.
http://dx.doi.org/10.1016/j.neuroimage.2005.07.010
[9] Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A Model of Aesthetic Appreciation and Aesthetic Judgment. British Journal of Psychology, 95, 489-508.
http://dx.doi.org/10.1348/0007126042369811
[10] Müller, M., Höfel, L., Brattico, E., & Jacobsen, T. (2009). Elec-trophysiological Correlates of Aesthetic Music Processing: Comparing Experts with Laypersons. Annals of the New York Academy of Sciences, 1169, 355-358.
http://dx.doi.org/10.1111/j.1749-6632.2009.04846.x
[11] Schloss, K. B., & Palmer, S. E. (2011). Aesthetic Response to Color Combinations: Preference, Harmony, and Similarity. Attention, Perception, & Psychophysics, 73, 551-571.
http://dx.doi.org/10.3758/s13414-010-0027-0
[12] Sergei, A., Alexei, N. G., & Julius, K. (2000). Categorization of Unilaterally Presented Emotional Words: An ERP Analysis. Acta Neurobiologiae Experimentalis, 60, 17-28.
[13] Tommaso, M. D., Pecoraro, C., Sardaro, M., Serpino, C., Lancioni, G., & Livrea, P. (2008). Influence of Aesthetic Perception on Visual Event-Related Potentials. Consciousness and Cognition, 17, 933-945.
http://dx.doi.org/10.1016/j.concog.2007.09.003
[14] Tractinskya, N., Cokhavia, A., Kirschenbauma, M., & Sharfi, T. (2006). Evaluating the Consistency of Immediate Aesthetic Perceptions of Web Pages. International Journal of Hu-man-Computer Studies, 64, 1071-1083.
http://dx.doi.org/10.1016/j.ijhcs.2006.06.009
[15] Vartanian, O, & Goel, V. (2003). Neuroanatomical Correlates of Aesthetic Preference for Paintings. Neuroreport, 15, 893- 897.
[16] Wang, H., & Zhang, N. N. (2010). The Analysis on Vehicle Color Evoked EEG Based on ERP Method. 2010 4th International Conference on Bioinformatics and Biomedical Engineering (iCBBE), Chengdu, 18-20 June 2010, 1-3.
http://dx.doi.org/10.1109/icbbe.2010.5516390
[17] Wang, X. Y., Huang, Y. J., Ma, Q. G., Li, N. (2012). Event-Related Potential P2 Correlates of Implicit Aesthetic Experience. Neuroreport, 23, 862-866.
http://dx.doi.org/10.1097/WNR.0b013e3283587161
[18] Zeki, S. (1999). Art and the Brain. Journal of Consciousness Studies, 6, 76-96.