Professional Documents
Culture Documents
NEW
EXPERIMENTAL AESTHETICS:
STEPS TOWARD AN
OBJECTIVE PSYCHOLOGY OF
AESTHETIC APPRECIATION
./
xx
EDITED av D. E.
UNI/E RSITY
BERLYNE
O F TORONTO
I-USMISPHERE PUBLISHING
CORPORATION
1974
Washington. D. C.
New York
London
Sydney
Toronto
CONTENTS
New York.
of John Wiley
Aesthetics.
N7l.B-42
new experimental
2.
aesthetics.
ArtPsychology.
70l'.17
ISBN 0-470-07039-0
I.
74-13600
Title.
&
Sons,
Preface
vii
. .
Crazier
27
./.B.Crozier......
. .
. .
..
E. Ber/yne
. .
91
109
121
PREFACE
CONTENTS
vi
Hare
IN
Hare
UNCERTAINTY,
IN
DIMENSIONS OF PERCEPTION
and J.
C. 09//V/5'
159
I59
'
'
'
'
175
PAINTINGS,
~
181
227
235
259
CONCLUDING OBSERVATIONS, D.
Author Index
Subject Index
Bar/yne
E.
14
R,
I3
12
AND IN VARIETY,
or:
11
D. E. Ber/yne
10
DISTRIBUTIONAL REDUNDANCY
D, E. Ber/yne
ARTISTIC TRAINING
<
'
'
'
'
'
'
'
'
279
305
333
337
who have
12),
for
PRE FACE
VIII
the
nancial
S70-1570-X2,
book.
and
this
techniques
on the statistical
We have had to provide detailed information
some comments
data and, occasionally, to make
that we used for analyzing our
who are
This is for the benet of readers
on the underlying mathematics.
to
accustomed
are
disciplines. They
psychologists or specialists in neighboring
readers,
other
that
will expect it. It is hoped
receiving such information and
be put off by these technical
who lack the necessary background, will not
able to
them. We trust that they will be
passages but will feel free to skip
a few
are
There
statistical analyses tell us.
gather the essentials of what the
to
tests
For example, we have to apply
points they will have to understand.
unlikely to
D. E. Berlyne
D.
E.
Berlyne
preconceptions.
mealflg "to perceive," acquired
German
philosopher,
eui$:e:i}:iS.century
rubric, to investigate the acquisition
wit
y a ocia e
the
day.
congggenzzatplrf:
nearly so
certainly
August 1974
its
aesthetics
to the present
since
stglrlqse r:10:;ler(:B;(.):1:efd
word
Acme
o
is
at
hrorri
tl;Liiri3vl"Il
province
lie.
Aesthetics
is
is
mathematics to housework.
iets,
an)
side. And,
In fact, one can argue thagve
in
ie aiitsfaestlietic
nlztionelfn
our
in
art
may what are the ms? The
0
UP
0
has grown
wor
last
at
few cen
Lines,
it we
5PP0eh to aPProachsometh1nglabeled
with a certain aesthuc ii:
awe and Sptllbound
:1<;:,tWf1tha clfrtain
smousness that are withheld from
e o iects that we encounter. A
conception of art quite like ours is not gent
e found in many other cultures or
as art
D. E.
BERLYNE
even in western society before the Renaissance. These other cultures have all
produced objects, patterns, and activities that we class as art and treat as we
treat
art as
soon
as
we
denotes when
not exhaust its scope. Beauty, however dened and explicated, is far from
being the only quality attributed to works of art and to other objects of
aesthetic value. Others, including sublimity, interestingness, and even ugliness
have also been held to characterize them. Aesthetics has sometimes been
must be to nd
is
inside
it
and what
is
outside
it,
countries.
words
methods and
two groups.
visual
all,
arts.
Musicology
and
theory
of
literature"
:1}i;?c\JLlf:si()tI111::1'-:1
dfrognalphilolophical
u
W1"~[W1
do?
V ~ 33:11
-. ng
If
A
v
5, artists,
wor
and
subject
Once
is
matter and
commonly
that
is
of
recognized
pertain to the visual arts in particular and sometimes to all the arts, in which
case the words music" and literary" are substituted for the word art"
several
3:39
fapriropriate.
Art history
is
great
the varioustasks
of criticism A(se-e l/enturi, 1964;
whs:ttc;n]:cQv):sy1;;e7r
), but the prirnary aim of this discipline is, one may
Say to he] in tks;
d
enjoyment,
evaluation of particular
extent, their
an authors own beliefs, intuitions, and experience. To a large
continental
popular
in
currently
is
that
method is hermeneutic, to use a term
texts,
particular
of
examination
Europe, i.e., they rely heavily on interpretative
criterion
ultimate
Their
art.
particular specimens of literary, musical, or visual
ofconviction.
of validity is whether they leave the reader with a feeling
the kinds
Within speculative aesthetics, a distinction can be drawn between
of
departments
of investigation for which training is received in university
art
on
can hardly be
between
German,
(in
Literaturwisserischaft) are used with reference to the other major media. Art
Speculative Aesthetics
First of
b etween
by
(with their
to
German Wissenschafr
scholarship."
and
like
etc.,
great deal
least provisionally,
The
equivalents in other
DISCIPLINES
it is
Kunstwissenschafr,
identied with the theory of pleasing and displeasing" (Fechner, 1876, l., p.
l) in general, especially among the early experimental psychologists.
The impossibility of drawing a sharp line to mark off the subject matter of
aesthetics need not, however, disquiet the psychologist. One of his prime aims
between what
received in departments of ne
signicance for their originators will often have been quite different.
Questions regarding beauty belong indisputably to aesthetics. But they do
links
is
and music.
arts, literature,
,
.,
,
,
and
berstianding-,
Worrb Tmfcan ha r dlin e
one
without considering the historical succession
y
~1
of st YES and the nature of art, so that overlaps with art history and
'
Empirical Aesthetics
be};:1::or::;?:nC::\%1eef
,,....-.w.....<...........ay,M..,...,,,,
disciplines
concernvediwith aesthetics
Eesponmmy
are
the
aCc]:pt
for
BERLYNE
empirical
science.
That
and,
in
is
to say,
particular,
conclusions from
they derive their
means
observation, which
controlled
observation
analysis of data.
Among
sciences, the
the behavioral
clearcut lines
(again, without
aesthetics is
domain of em pirical
psychology,
of demarcation) among
experimental
coming
new techniques, new aims, and new ideas
by some new approaches,
of
speak
appropriately
these reasons, one can
from a variety of sources. For
up
perhaps smaller sha
and linguistics, with
sociology, anthropology,
political science.
to economics and
aesthetics is psychobfolo
of empirical
psychoOne prominent branch
the term
(Berlyne, 1971),
divided
As explained elsewhere
what most contemporary
one to distinguish
think of as
biology is a useful
what many laymen
'~researchers do from
before the
heading
pursued under th is
and from what was
scientific discipline.
or
Collmve
properties of stimulus patter-n5_
concentrates on collative
formal
or
said later) are structural"
properties (of which more will be
simplecomplex
familiar-novel,
along
properties, such as variations
1. It
Psychobiology
investigation of human
science to the
empirical
of
methods
that can inuence
observable conditions
relations to the
view.
its
and
behavior
1 point of
behavior from a biologica
it investigates
to
Moreover,
limited
behavior.
could no t be
aesthetics is useful but
psychological
to
much
have
The term
of speculative aesthetics
All the branches
approaches.
and
empirical
the creation
processes involved in
the
psychological
stable-variable dimensions
about
deductively or
psychological questions
to arrive
I:
SSU-(1165
'l'1V6S
psychological
to establish links
911;?
Phenomena but
mi 0W
make use
ght on
human psychology
it
-
in general.
aesthetics. This,
by behavioral scientists.
aesthetics is acperimerztal
through
problems
One part of psychobiological
the study of aesthetic
indicates, consists of
systematiterm
the
experimenter
as
0S4)i:Tl1eu::(E;:11j;l;ESt0f
an
situations in which
aspect of
experiments, i.e., through
effects on some
their
that
causal factors so
important
manipulates
cally
however, two very
ascertained. it excludes,
correlatiomzl
behavior can be
aesthetics. One is the
to psychological
approaches
empirical
natura lly and statistical
more factors vary
or
two
which
associated. For
study, in
strongly they are
to find out how
used
of
are
techniques
between c haracteristics
the correlations
of
studies
are
are
there
example, there
produce. Secondly,
kinds of art they
characteristics,
societies and the
of
measureme nt
content analysis, i.e.,
typifying
investigations using
and other artifacts
artistic
characteristics, of
the nhew
i.
behavior.
THEORETICAL ORIENTATION
to be reported are
Those res o s'b1 rim he XPe\'lmem5 ma 3! going
Selina?
territory,
oneers who are exploring largely uncharted
Wen aware opf
,, p
especially statistical
or historical periods.
specific social groups
ae th
'
3.
.
'
methods
not use empirical
art. But they do
answ
appreciation of works of
formulate
They either
about these processes.
contributed
answers
at new knowledge
of the
say
1971 19721))
new experimeritalaesthetics (Berlyne,
aesthetics possesses one
experimental
new
Research identiable with the
characterized much
features, none of which
more of the following
the
aesthetics.
psychology"
as a
advent of psychology
~
6
o. E.
BERLYNE
ofan,
ELEMENT
WORK
AN
and
aestheticians, information theorists,
from the writings of speculative
theoretical
the
of
recapitulalion
for a
semioticians. There is no room here
roughly as follows:
principal ingredients can be indicated
scheme, but
work
ART
CHARACIERISTICS
OF
A
OF
OF
element
an
its
A Work
of
art is
what an element
will
be
like
and
characterized
by
relative
sources.
information-
Extending and
slightly
collectively as aesthetic
artistic (poetic)
distinguish
one of the salient features that
since, in the latter,
communication,
and nonartistic (prosaic) forms of
the
is what matters (cf.
accurate conveyance of semantic information
of information
is
$0
at
transmit
NO
be
c~
can
vice versa.
to
(see Berlyne,
analyzed in information-theoretic terms
can transmit
which
of
elements, each
1965, Chap. 2) as an assemblage of
is another
This
Fig.
l).
(depicted in
information from four distinct sources
the
between
degree of correlation
way of saying that there is some
belonging
characteristics of events or objects
characteristics of an element and
sources
that acquaintance with the four
to the four sources or, alternatively,
1.
ofa
on
5*
5
IC
ISTICS
axrsnnn
~
OF
~
inform.
which
womg
OTHER
EC
SAME
CHARACTERIST
AN
through
ELEMENTS
OBJ
HARACTE
or
me
PSYCHOLOGICAL
ARNST
PROCESSES
WIIHIN
SOCIAL
OF
THE
Channels
NORMS
I.
FIG.
PERIMENTAIL Aesrnerics
D. E. BERLYNE
z-
Modifying this
the communication of
A work
prgpe,r_tie;s_g,__and
of art
is
whose
collative
hedonic value.
measurable variables
of the same
aspects
be
not
(Berlyne, 1967, l973b), which may or may
of pleasure,
de_.-":23
include
underlying psychophysiological variable. They
which have
usually measured through verbal judgments,
several distinct
preference, or utility,
appreciation as disinterestcd."
value with
There is abundant evidence (Berlyne, 1967) connecting hedonic
produce
patterns
aesthetic
that
fluctuations in arousal, and it is hypothesized
of
counterpart
a
course,
of
their hedonic effects by acting on arousal. This is,
emotional
their
the old belief that works of art generate pleasure through
impact.
about in either of
Indications are that positive hedonic values can come
arousal-boost
two ways, namely through a moderate increase in arousal (the
reached an
mechanism") or through a decrease in arousal when arousal has
uncomfortably high level (the arousal-reduction mechanism).
movement
'
.--.
.7
those that occasion sharper rises in arousal will be unpleasant, punishing, and
aversive, in which case positive hedonic value can be produced by some
the
the semiotic
*.-
'
Marcus,
between scientic and poetic language pointed out by
communication is characterized by
1970). In nontechnical language, artistic
is communicated, as compared
something
how
relative importance of
contrasts
with what
9_3..5..l.l1l:l.U5
Briey,
,,.........,.
aziloplgalllatig/iepgoaperties.
H
,-ma.
arou
I'll
The
we refer
to collectively as
5itu3l- 35 h}Pth95iZ9dv
i5
Teiifesented
by
by Wundt
two
be
explained
as
the
algebraic
summation
ofthe
(1874). This curve could
curves in Figure 3, which represent the supposed degrees of activation oftwo
which
is
must be pointed oit that these curves concern only the conditions
under which a stimulus pattern has either positive hedonic value throuvh
9 the
arousal-boost mechanism or negative hedonic value. It does not cover
system.
It
bl"r1in.a
mt
mdm
.'
or to
v;:'lE t0.rEduce arobusal
'
'
'
information-theoretic aestheticians
Coatesugn)
tech
pmpem_es
.f
3 Pam-H1,
We might adopt
the
in mechanical engineering to
;1=U1al
widespread meta P ho flea service for both
psychologists and writers
'
pm-om
Q:
LIJ
5:1
and
value
V
F2
E
Lu
[Z
E
EE
'T~
Ya
AROUSAL
.g
Q,
hedonic
between
>
3;
~..--_-_
5
54 Q
relations
3:
potential.
FIG. 3. Hypothetical curves representing activity of a primary reward system and an aversion system in the brain,
whose resultant produces the \Vundt curve.
representing
>
arousal
curve
on
Wundt
rein
Th
NEGATIVE
POSITIVE
HEDONlC
VALUE
|ND|FFERENCE
HEDONIC
out ofits normal shape or state. In elastic bodies, the resulting deformation
or stress is accompanied by storage of potential energy, so that a force
terpreted
'
art. It
2
.
1716
~
i.
the
rw~
brain structures
controlling the
indices
from
other
,,.i...-.e-..,_y,~vaa<-,_=;qu~
sense
10
These
of disturbing experiences or
threats.
.,..,,..,...,,.......
structures.
inadequate to bring arousal down again, so that more complex devices are
brought into play, such as information-analyzing processes that make
actions that remove environmental
_..,..,,.,.,,-sp
12
D. E.
BERLYNE
.._.,
._
arousal-moderating factors
ofarousal
arousal is succeeded by a phase
that a phase of uncomfortably high
At
yet other
or disturbance is relieved.
reduction, so that the discomfort
times, pleasure and reward
in
from activation ofboth mechanisms
"arousal
arousal is succeeded by a drop (the
may
result
be reported
in the
tions
variety of
be seen, are addressed to a fairly wide
techniques and some independent and
topics. But some experimental
While each experiment had its
dependent variables will come up repeatedly.
The experiments,
as will
overall objectives:
specific aims, they shared the following
1. to try out
statistical analysis
aesthetics,
The dependent
7.
variables
Verbal ratings.
fall
Most by
to
which and by
namely lnterestingness, were also cbtained. Interestingness and Pleasingness generally behave differently: they vary with some of the
same independent variables, particularly complexity (objective or subjective)
and novelty, but the curves relating them to these variables are generally
dissimilar. lnterestingness seems generally to rise rnonotorcally with collative
stimulus properties, whereas Pleasingness and equivalent attributes reach a
peak, or sometimes several peaks, in the middle ranae. Other experiments
were concerned with Judgments of Complexity (beginning with Day, 1965)
and novelty (Berlyne & Parham, 1968).
Since then, we have settled on the type of sevenpoint rating scale
md_d by 059003 (1933). 136., a row of seven compartments with
opposite words or phrases labeling the two extremes. We have 3150 Come to
use a progressively wider range of scales, as have researchers in other
I a I)
zratoriles gse: Berlyne, 1972a, Berlyne, Chap. 14, this .,01ume)_
ever
5 7}P91'1m5m5 3 be fepotted use lzatteries of scales belonging
to the Song;mg I lee C1355 (3) WSCVIPWV9 51716:, referring to collative
Properties of stimulus patterns, which include subjective equivalents of the
measu e
t
d
d
lllformauon theory (Ber]yn= 1974): 0) 9Vl5V
by
scales rirldlzallveucefh
ljmc value and re.med attributes and (C) im"[""e
to
scales referrin
t:rifutes of the subject 5 react;on or mood while exposed
ola
to a .pmem gs
:rather different nature, namely stylistic scales,
6: on
referring to tchflitica a ti utes of worl<s of art, make an Eppearance in a fgw
ea
ofthe Pxperiments (Chaps. 9 and II, this volume).
2
Recordings of bodily processes, for
hgig/sialogicaifmeasures.
h
or
estanons
mmy
.aCcompammEr[5 Dr mn" but
man]!
fraes
with
nowadays more
fluctuations in arousal, were used
Que! Y Connected
eviluatlve attribute.
boost-jag).
The experiments
Dependent Variables
and
some techniques of data collection, measurement,
value for experimental
that seem to have great potential
'
'
'
'
'
quite early
by students of experimental
Earlier investieatioris
in
5
is
aesthetics (e T
Digereng ' 1925) l
rm-
.2}
14
D. E.
NEW
BERLYNE
& Parham,
and various properties of sounds (Berlyne, McDonnell, Nicki,
laboratories
other
in
investigations
of
1967). There have also been plenty
conrming the effects of collative stimulus properties on indlces of arousal
(see Berlyne, l97l,Chap. 13).
3. Behavioral measures.
responses, either
his choice
is
recorded.
we
r::::.":;:::.:B:::;*:;
The
press either of
them
:1
e ec
at
was discussed
earlier.
And
the
RIal"3 3m"9
Dependent Variables
';S11:;'t:(:.int3;"C:T315l51l|'lY-E
attmt!l1f
S0l"l'rlr6e
NR
variable.
2
E
SR Wind Pleg
dependent
mange-e.m-ens.x,-.e..a4
dfViCS has
lead to
is
it a
$312335: 5 two instrumental responses producing
ofa key has no effect. But now and then, it will produce a brief exposure of;
Palm. 0 Picture on a screen. Once this has occurred, a variable, randomly
aveirpge in our experiments) must elapse
i::.::l:l;l:7d33itxl1ngl9m(:[:a::1:O}l::S :iiitl}i1e
t
Consequence Although this
8' Smile
(get
technique does not involve dela
est in t e absence of the event whose
ye
reward value is to be measupd
~
it can be argued that the relative rates of
1'35PUdl 0" the {W0 keys retlect the relative reward values of tr e stimuliis
utility (Berlyne,
reinforcement
(but not both together) as often as he wants. Most of the time, the depression
implies a durable
defined in terms of learning and learning
frequently
repetition of the
attract longer
is
prompt
rise in
rationale.
same
it is
as a measure of the
Exploration Time has been variously interpreted
the intensity of attention (shown by
intensity of the orientation reaction,
can be warded off), or perceptual
attention
how long competing targets for
curiosity to be reduced to a
for
takes
curiosity (shown by how long it
seems to be governed by some of the
threshold value). Exploratory Choice
variables, as Exploration Time, but the
some
frequency of a particular response and can thus be easily mistaken for reward
15
to observe behavior
two
is
EX-RlMENTAL AESTHETICS
me asures
lS
'1
16
D. E.
BERLYNE
and unique
isolate organically unitary
will help us to
that intercorrelations
1959, p. 258) or
signicant variables (Cattell,
behavioral structures, i.e.,
problem encompasses a
259). This overall
convenient climensions (p.
worth having:
to which answers are
number of more specic questions
In
scales are interrelated.
know in what ways our verbal
1. We need to
kinds
main
the three
look for connections among
particular, it is important to
scales, the
(collative)
descriptive
used, namely the
of scales that we have
often been assumed that,
internal-state scales. it has
evaluative scales, and the
us about
of a stimulus, he is informing
when a subject expresses his evaluation
between
Correlations
in him.
that the stimulus evokes
the affective reactions
assumption
this
justified
scales will
verbal
toneand bhviofal
conveniently placed under the label of hedonic
This is a question in
value.
reward
and
value
incentive
like
hedonic concepts,
the term hedonic
using
for
is
there
justification
much
other words, ofhow
show how
hypotheses
It
technique
3
5
4.
~~
,4...-..
~i,;1;s;.,_
1
W-._
."'7.3-"P?1.T~.M
\M
..
(Cattell,
1952).
able to measure
Complexity-Uncertainty, Hedonic
restricted kinds
factor analyses with more
chapters of this book report similar
selected
designed to reveal effects of
of visual or auditory stirriulus material,
independent variables.
can help to fill a
to behavioral measures
2. Information relating verbal
aesthetics before
history of experimental
rather glaring gap that disgured the
what
gtisirgrcticdal
an
:::;t::igl':'Ll":::::x::1:;:l:<;:l
~~
PSYChOPh1))Sl0|oo
gical
on
:):e15::i:Vi:::fyc:::;:y;l;::;
When
'17
i'::Il:::.
Harp
A::L:s}:ie
on these
this question.
They
ow
as
:aJT?:t~::YCh0PhYSiolOBIcal
scales in 1}:
Independent Variables
*
Before discussi
yum
'
:;(p;il'imental aesthetics
neticaroac.
that mightPl;]ay
l;
)r,r!:1;1hie1';:e;lpler:l)e:itk!ariables
-~~
can take.
One of
Lihes:
Cit:
whoseleffects were
\3llafyi?Iedxl':f2::}tll:2::l
[1211:
%%:or:1is:::ih:i;fli:g<:t.i:articu1ar
variables or factors
Wm
but they
/_'l:he
am such as might we be
_fu<nd
mm):
um
;:u
egtfe
elem?-is
works Man
independent Variables, so
an expmmenir
reafonabb. smie whi.h
inan bf:
ones are T93Ponsible for observed variations
it
Su Jects reactions/i But
niight be objected that it misses some 0 f the essential and decisive attributes
:3
'
.2
C
18
D. E.
BERLYNE
.~.z~w;~rrv~.
~~
.>.tur0<:~:=~s.,q:
what
recorded.
It is,
consequently,
Chap.
2).
He
century, especially
'
under
investigation.
when
individual
Both approaches
approach
in view. The
constructed with collative stimulus properties
of aesthetic form,"
constituents
the
with
variables are virtually identical
genres, e.g., absolute music,
structure, or composition." There are artistic
other words, syntactic information is
concrete painting, in which form or, in
content is important, i.e., when semantic,
virtually all there is. But even when
major roles, formal factors account
cultural, and expressive information play
importance of form (i.e., syntactic
for a great deal. The motivational
as distinct from content seems,
information dependent on collative variables)
variegated
ingredient that binds together the highly
in fact, to be the common
realm ofart and the aesthetic.
play an indispensable role even
Nevertheless, coilative stimulus properties
and
other words, with semantic, cultural,
in connection with content or, in
object
an
from
indistinguishable
art is
expressive information. No work of
with a
to remind us that we are dealing
cues
always
are
There
that it depicts.
distortions,
deliberate
another medium, and there are frequently
-
replica in
so hem
arse denrea of
one another.
19
surprisingness. are
4vc~<l'9M%
crucial.
PliA'1ClP31
Wmefs
Statistical
The
collative
or
organism (Berlyne, in press).
pattern can be
more
another
Itrltlany
or, for
for
W;t11:l:::::tPY<t>:fV:<:,
a:(<)1n:1;bjietc3trilt:p
so-called collative
Slliieonn, ll1lll:(l)6
a}r1eaSa:1rPlv:grL:unds
and
in
contrast
fotrtri: fig:/l9I:altld
with
aesthetics, they,SuUoestquant;tatiVe
mpoued in
informaomheomic Vmabies a d
maafll
S
chess,
10.
thinipu
Sr
variables of concern to
a1:ions.Consequent1y,1n many of
was concentrated on
,}i1nterest
hoe
Variables that
the effects
er
.m
'.
:::::::fon";:[:te3m:1::
when
uncertainty or
infmmatluncertainty
ion per total pattern, per element ofa pattern, per
~
V
D. E.
BERLYNE
be
used by artists. First, it can
can
it
number of elements per pattern. Secondly,
increased by increasing the
element
number of alternative forms that each
be increased by increasing the
varying
introducing
it can be decreased by
can take. Thirdly and fourthly,
(Garner,
ways
two
of
constraint) in either
amounts of redundancy (internal
some kinds of
can be created by making
1962). Distributional redundancy
can be
redundancy
others. Correlational
element occur more frequently than
frequently
more
combinations of elements appear
created by making some
producing similarities or other
than others or, in other words, by
which is
in different locations.
interdependencies between elements
called syntactic information.
identifiable with what we have
ways. This is necessary
is varied in all four
In our experiments, uncertainty
in uncertainty
variations
we observe are due to
to find out how far the effects
have special
operations
particular uncertainty-altering
as such and how far
aesthetics
of
information-theoretic theories
consequences. For example, the
redundancy.
to
attribute a special signicance
that were mentioned above
structure." The
of
amount
order"
or
Redundancy can be equated with
from that of
is clearly different
psychological signicance of redundancy
or
Unlike variation in number of eleirients
other determinants of uncertainty.
apparent
become
can
elements, redundancy
in amount of variety among
and grouped
are interrelated, organized,
pattern
ofa
portions
gradually as the
all
SR laws
raise
purpose in our experiments, together with factor analysis. But they
inuence
that
attributes
the
that
the old question of how one can be sure
scales that
behavior most decisively have been covered by any battery of
..s:/_:q$s~Ixe.-1q,:~
might be chosen.
we
Some
other
supply measures for, paintings and
artistic
products.
They
predominantly
are reflected
in his
,-
judgments,
Some of
test a theoretical
view ofstylistic
..v.,.w....,~,,.,.-r~.
the
de:1]l;:3
ame?
1']
th:
Ce o
umor on some~of
on
2,.
*0 aft, though
r
a shorter
bement'
d, Mr.
has meionee
member Yof
if
intricate methodological
this
can be
uncertainty of a class of patterns
The
unit time, or per unit area.
which are
ways,
four
least
varied in at
'
let
Avital used
Scales
as
his
and
Cal
maluil
,
i
He
islil<e1y
an
mm
'
Israeli painter
..
'
He
in large
measure but,
in
own
some
him
...n
~~
is
l:;;]:in*m_:1SIn
and caused
aw-m-,4-r
Agital
wr}1p}:o
logjcmmathe
er.-..s..,....,.~.=~.~m
in
faptpear.
to beytl:
in experimental aesthetlirs
C5
in W935)-
On
his
~
,,
'4
22
D. E.
BERLYNE
Individual Differences
-"I~w.rssa;m~s~.~s-ea,--.._t.i......,g
Many
particular
what
ways
all the experimental aesthetics of the past remote and recent has
concentrated on the reactions of western subjects with above-average
education. Tlus is true of most of the work done in our own laboratory
is
i.'1ClLlClll'lg
is
to
'
_]
:;bJ::15_
ies in
s
'
practical interest,
3.
Almost
reactions
This beliefis mistaken. The aesthetic
underlying their undeniable
consistency
of
out to have an appreciable degree
have frequently found statistically
differences. We and other investigators
dozen or so subjects, who are admittedly
signicant group tendencies with a
homogeneous population. individual and
usually drawn from one relatively
asearch for
can hardly be overlooked. But
cultural variations in aesthetic taste
to examinis a necessary preliminary
general principles that apply to everybody
to
canbring light the
the range ofvariation.Tliis search
ing, and accounting for,
them in
reactions, even if they influence
variables that inuence aesthetic
different
Chapter
in
-=v-
23
experimental aesthetics
calls
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