Loading...
|
Please use this identifier to cite or link to this item:
https://nccur.lib.nccu.edu.tw/handle/140.119/153562
|
| Title: | 線上展覽之導覽方式與導覽自由度對抽象畫美感經驗之影響
The effect of types and freedom of guide in online exhibition on the aesthetic experience of abstract paintings |
| Authors: | 蘇品璇
Su, Pin-Hsuan |
| Contributors: | 黃淑麗
Huang, Shwu-Lih
蘇品璇
Su, Pin-Hsuan |
| Keywords: | 線上展覽
導覽方式
導覽自由度
美感經驗
Online exhibition
Guide types
Guide freedom
Aesthetic experience |
| Date: | 2024 |
| Issue Date: | 2024-09-04 16:06:20 (UTC+8) |
| Abstract: | 近年線上展覽崛起，然而相關議題卻缺乏研究探討。本研究旨在探討線上展覽中，其導覽方式與導覽自由度對美感經驗的影響。過往文獻表明，視覺導覽能夠增進觀眾對於畫作的理解，本研究根據相關文獻加以推論，認為聽覺導覽相較於視覺導覽更能夠增進觀眾對於畫作的理解，從而提升美感經驗，並且在不超出認知負荷的情況下，接收導覽訊息的自由度越高越能增進觀眾對於畫作的理解與美感經驗。因此，本研究設計兩個實驗，皆為參與者內設計，測量對畫作的理解、喜好、興趣及愉悅評分，以驗證研究假設。實驗一比較無導覽、視覺導覽與聽覺導覽三種情況，主要結果顯示，視覺導覽與聽覺導覽相較於無導覽，皆顯著提升觀眾對畫作的理解與愉悅，視覺導覽並可提升喜好程度，且理解的中介對於導覽效果扮演重要角色；然而視覺導覽與聽覺導覽的效果未有顯著差異。實驗二採用聽覺導覽，比較無導覽、導覽無自由度與導覽有自由度三種情況，結果顯示有導覽相較於無導覽，無論有或無自由度，皆顯著提升觀眾對畫作的理解、喜好與愉悅；然而有自由度相較於無自由度的情況，則僅在提升喜好方面達邊緣顯著。整體而言，導覽對於觀展體驗的助益得到支持，本研究建議線上展覽可採用具導覽自由度的聽覺導覽，在低中互動性範圍內盡可能提高觀眾對導覽的可控程度，以期最大程度地輔助觀眾欣賞藝術作品，提升美感經驗。
In recent years, online exhibitions have gained popularity, but research on related issues is still limited. This study explores the effect of types and freedom of guide on the aesthetic experience in online exhibitions. Previous research indicates that visual guides enhance viewers' understanding of artworks. This study hypothesizes that auditory guides may further improve understanding and aesthetic experience. Additionally, this study proposes that greater freedom in interacting with guides, within cognitive limits, could further enhance these outcomes. Two within-subject experiments were conducted to test these hypotheses. Participants' understanding, liking, interest, and pleasure were measured as the dependent variables. Experiment 1 included no guide, visual guide, and auditory guide conditions. The result showed that both visual and auditory guides significantly improved understanding and pleasure compared to no guide, with visual guides also enhancing liking. Mediation analysis revealed that understanding played a key role in the effectiveness of the guides. However, no significant differences were found between the effects of visual and auditory guides. Experiment 2 included conditions of no guide, auditory guide without freedom, and auditory guide with freedom. The results showed that guides significantly improved viewers' understanding, liking, and pleasure compared to no guide, though freedom only marginally enhanced liking. It is suggested that online exhibitions may utilize auditory guides, with a degree of freedom within a low to medium interaction range, to enhance viewers’ appreciation and aesthetic experiences. |
| Reference: | Arnheim, R. (1969). Visual thinking. University of California Press.
Agostinho, S., Tindall-Ford, S., Ginns, P., Howard, S. J., Leahy, W., & Paas, F. (2015). Giving Learning a Helping Hand: Finger Tracing of Temperature Graphs on an iPad. Educational Psychology Review, 27(3), 427–443. https://doi.org/10.1007/s10648-015-9315-5
Agostino, D., Arnaboldi, M. & Lema, M. D. (2020). New development: COVID-19 as an accelerator of digital transformation in public service delivery. Public Money and Management, 41(1), 1–4. https://doi.org/10.1080/09540962.2020.1764206
Belke, B., Leder, H., Strobach, T., & Carbon, C.-C. (2010). Cognitive fluency: High-level processing dynamics in art appreciation. Psychology of Aesthetics, Creativity, and the Arts, 4(4), 214–222. https://doi.org/10.1037/a0019648
Binnie, J. (2010). Does Viewing Art in the Museum Reduce Anxiety and Improve Wellbeing? Museums & Social Issues, 5(2), 191–201. https://doi.org/10.1179/msi.2010.5.2.191
Bubić, A., Sušac, A., & Palmović, M. (2017). Observing Individuals Viewing Art: The Effects of Titles on Viewers’ Eye-Movement Profiles. Empirical Studies of the Arts, 35(2), 194–213. https://doi.org/10.1177/0276237416683499
Cotter, K. N., & Pawelski, J. O. (2021). Art museums as institutions for human flourishing. The Journal of Positive Psychology, 17(2), 288-302. https://doi.org/10.1080/17439760.2021.2016911
Csikszentmihalyi, M. & Robinson, R. E. (1990). The art of seeing: An interpretation of the aesthetic encounter. The J. Paul Getty Museum.
Domagk, S., Schwartz, R. N., & Plass, J. L. (2010). Interactivity in multimedia learning: An integrated model. Computers in Human Behavior, 26(5), 1024–1033. https://doi.org/10.1016/j.chb.2010.03.003
Gammon, B. & Burch, A. (2008). Designing mobile digital experience. In L. Tallon & K. Walker (Eds. ), Digital technologies and the museum experience: Handheld guides and other media (pp. 35-61). Altamira Press.
Gerger, G. & Leder, H. (2015). Titles change the esthetic appreciations of paintings. Frontiers in Human Neuroscience, 9. https://doi.org/10.3389/fnhum.2015.00464
Glaser, M., Knoos, M. & Schwan, S. (2022). Localizing, describing, interpreting: effects of different audio text structures on attributing meaning to digital pictures. Instructional Science, 50, 1-20. https://doi.org/10.1007/s11251-022-09593-6
Graf, L. K. M. (2018). Response: Commentary: Aesthetic Pleasure versus Aesthetic Interest: The Two Routes to Aesthetic Liking. Frontiers in Psychology, 9. https://doi.org/10.3389/fpsyg.2018.00472
Graf, L. K. M., & Landwehr, J. R. (2015). A dual-process perspective on fluency-based aesthetics: The pleasure-interest model of aesthetic liking. Personality and Social Psychology Review, 19(4), 395–410. https://doi.org/10.1177/1088868315574978
Graf, L. K. M., & Landwehr, J. R. (2017). Aesthetic Pleasure versus Aesthetic Interest: The Two Routes to Aesthetic Liking. Frontiers in Psychology, 8. https://doi.org/10.3389/fpsyg.2017.00015
Ha, Y. & Im, H. (2020). The role of an interactive visual learning tool and its personalizability in online learning: Flow experience. Online Learning, 24(1), 205-226. https://doi.org/10.24059/olj.v24i1.1620
Hayes, A. F. (2013). Introduction to Mediation, Moderation, and Conditional Process Analysis: A Regression-Based Approach. Guilford Press.
Kalyuga, S. (2007). Enhancing Instructional Efficiency of Interactive E-learning Environments: A Cognitive Load Perspective. Educational Psychology Review, 19(3), 387–399. https://doi.org/10.1007/s10648-007-9051-6
Krukar, J., & Dalton, R. C. (2020). How the Visitors’ Cognitive Engagement Is Driven(but Not Dictated) by the Visibility and Co-visibility of Art Exhibits. Frontiers in Psychology, 11. https://doi.org/10.3389/fpsyg.2020.00350
Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489–508. https://doi.org/10.1348/0007126042369811
Leder, H., Carbon, C., & Ripsas, A. (2006). Entitling art: Influence of title information on understanding and appreciation of paintings. Acta psychologica, 121(2), 176-98 . https://doi.org/10.1016/j.actpsy.2005.08.005
Mayer, R. E. & Moreno, R. (1998). A split-attention effect in multimedia learning: Evidence for dual processing systems in working memory. Journal of Educational Psychology, 90(2), 312–320. https://doi.org/10.1037/0022-0663.90.2.312
Moreno, R., & Mayer, R. (2007). Interactive Multimodal Learning Environments. Educational Psychology Review, 19(3), 309–326. https://doi.org/10.1007/s10648-007-9047-2
Millis, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1(3), 320–329. https://doi.org/10.1037/1528-3542.1.3.320
Russell, P. A. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110. https://doi.org/10.1348/000712603762842138
Schwan, S., Dutz, S. & Dreger, F. (2017). Multimedia in the wild: Testing the validity of multimedia learning principles in an art exhibition. Learning and Instruction, 55, 148-157. https://doi.org/10.1016/j.learninstruc.2017.10.004
Schwan, S., & Riempp, R. (2004). The cognitive benefits of interactive videos: learning to tie nautical knots. Learning and Instruction, 14(3), 293–305. https://doi.org/10.1016/j.learninstruc.2004.06.005
Skulmowski, A., & Xu, K. M. (2021). Understanding Cognitive Load in Digital and Online Learning: a New Perspective on Extraneous Cognitive Load. Educational Psychology Review, 34, 171-196. https://doi.org/10.1007/s10648-021-09624-7
Smith, J. K.& Tinio, P. P. L. (2008). Audibly engaged: Talking the Walk. In L. Tallon, & K. Walker (Eds. ), Digital Technologies and the Museum Experience: Handheld Guides and Other Media (pp. 63-78). Altamira Press.
Steciuch, C. C. (2021). Exploring the Causal Role of inferences Elicited By Accompanying Text in Aesthetic Experiences [Doctoral dissertation, Northern Illinois University]. https://huskiecommons.lib.niu.edu/allgraduate-thesesdissertations/7695
Swami, V. (2013). Context matters: Investigating the impact of contextual information on aesthetic appreciation of paintings by Max Ernst and Pablo Picasso. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 285–295. https://doi.org/10.1037/a0030965
World Health Organization. (2022, March 2). COVID-19 pandemic triggers 25% increase in prevalence of anxiety and depression worldwide. Retrieved from https://www.who.int/news/item/02-03-2022-covid-19-pandemic-triggers-25-increase-in-prevalence-of-anxiety-and-depression-worldwide |
| Description: | 碩士
國立政治大學
心理學系
110752012 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0110752012 |
| Data Type: | thesis |
| Appears in Collections: | [心理學系] 學位論文
|
Files in This Item:
| File |
Description |
Size | Format | |
|---|
| 201201.pdf | | 1667Kb | Adobe PDF | 0 | View/Open |
|
All items in 政大典藏 are protected by copyright, with all rights reserved.
|
