Estetski doživljaj umetničkih slika

Abstract

Cilj istraživanja bio je da se ispita veza estetskog doživljaja sa drugim dimenzijama subjektivnog doživljaja slika. Estetski doživljaj definisan je preko devet deskriptora izdvojenih na osnovu pregleda odgovarajuće literature: opčinjavajuće, neodljivo, jednistveno, neprolazno, duboko, izuzetno, univerzalno, neizrecivo, voleo/la bih da imam ovu sliku. Procene 24 slike na unipolarnim sedmočlanim skalama napravljenim od navedenih deskriptora analizirane su metodom glavnih komponenti. Dobijena je jedna glavna komponenta. Multipla regresija pokazala je da je estetski doživljaj, meren preko proseka procena na devet skala, veoma slabo povezan sa bazičnim dimenzijama subjektivnog doživljaja umetničkih slika, merenim preko instrumenta SDS 16. Faktor Pobuđenost bio je značajan prediktor estetskog doživljaja bez obzira na relativno mali procenat objašnjene varijanse. Predikcija ostalih faktora, Regularnost, Atraktivnost i Smirenost, nije bila značajna. Procene na SDS 16 preuzete su iz ranijeg istraživanja. Dalje regresione analize pokazale su da estetski doživljaj ima ulogu u proceni međusobne sličnosti-različitosti slika: mera estetskog doživljaja delimično objašnjava distribuciju slika u 2-D i 3-D prostoru MDS-a. Rezultati MDS-a preuzeti su iz ranijeg istraživanja. Na osnovu rezultata ovog istraživanja možemo zaključiti da se estetski doživljaj predstavlja jedinstven i relativno nezavistan fenomen.

This study investigated the strructure of aesthetic experience and the relationship of this structure and other dimensions of the subjective judgements of paintings. Aesthetic experinece was defined by nine descriptors selected from relevant literature: fascinating, irresistible, unique, eternal, profound, exceptional, universal, unspeakable, I would like to have this painting. 24 paintings were judged of on nine unipolar seven-step scales that were made of the up-mentioned descriptors. The factor analysis extracted one principal component. Multiple regression has shown weak correlation between aesthetic expirience (averaged nine judgements) and the factors of the subjective judgements of paintings (the factors were measured by the instrument SDS 16; Radonjić & Marković, 2005). Factor Arousal was a significant predictor of aesthetic experience, but the percent of explained variance was relatively low (circa 23%). The prediction of other factors, Regularity, Atraction and Serenity, was not significant. For the purpose of this analysis we used the data from the previous study (Radonjić and Marković, 2005). Further regression analyses indicated the role of aesthetic experience in the similarity judgments of paintings: the distributions of the paintings within 2-D and 3-D MDS space were partially explained by the measure of aesthetic experience. The MDS data were taken from the previous study (Radonjić i Marković, 2004). The results of this study suggest that the aesthetic experience is a unique and relatively independent phenomenon: internally, it is not dividable into components, and externally, it is weakly correlated with the other subjective dimensions.