著者

松田 憲 一川 誠 中嶋 優 興梠 盛剛

出版者

Japan Society of Kansei Engineering

雑誌

日本感性工学会論文誌 (ISSN:18845258)

巻号頁・発行日

vol.13, no.1, pp.63-73, 2014 (Released:2014-02-10)

参考文献数

21

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This study investigated the basis of a right-side dominance in aesthetic arrangement. In experiment 1, in order to examine the effect of attended position in pictures on aesthetic arrangement, we manipulated the positions of the fixation points, which attract observer's attention, and centroids of triangle arrangement for three objects. Participants rated preference, balance, beauty and harmony by the use of seven points scale for each of the pictures. We found that participants evaluated highly aesthetic in viewing the pictures whose arrangement centroids were near to the fixated position. In experiment 2, in order to examine the effect of participant's dominant hand on aesthetic arrangement we presented the objects which the participants are willing to manually manipulate, or the object which they should avoid to manually touch for right-handed or left-handed participants. We found that right-handed participants evaluated highly aesthetic in viewing the pictures whose arrangement centroid was at right side, but left-handed participant did not.

著者

中嶋 優太

出版者

西田哲学会

雑誌

西田哲学会年報 (ISSN:21881995)

巻号頁・発行日

vol.12, pp.166-169, 2015 (Released:2020-03-21)

著者

中嶋 優太

出版者

西田哲学会

雑誌

西田哲学会年報 (ISSN:21881995)

巻号頁・発行日

vol.8, pp.121-137, 2011 (Released:2020-03-23)

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When presented with some forms of nature and works of art, we feel they are beautiful. These kinds of experiences are generally believed to be quite different to cognitive experience and are called “aesthetic experience”. This paper aims to reveal what Nishida thought about aesthetic experience through his paper “Problems of consciousness”. In his theory, aesthetic experience is different from cognition, and does not serve a cognitive purpose. However, it is not purely subjective ― it also has an objective aspect. We think that the world of art is subjective and the world of experience is objective, but artists also have an objective world to discuss with each other(“Problems of consciousness”). In his argument for the objectivity of aesthetic experience, he uses Kant’s argument for the objectivity of cognition to argue for the apriority of aesthetic experience. Cognition has its language of concepts as the base of its apriority and, in the same way, aesthetic experience has its language of senses as the base of its apriority. This is called‘pure seeing’ after Fiedler’s theory of expression(“Über den Ursprung der künstlerischen Tätigkeit”). Nishida also argues that cognition and aesthetic experience represent the same reality in their own languages. By arguing in this way, he invokes the unity of apparently diverse experiences, which is one of the main theses of Nishida’s philosophy.

著者

中嶋 優 一川 誠

出版者

日本感性工学会

雑誌

日本感性工学会論文誌 (ISSN:18828930)

巻号頁・発行日

vol.8, no.1, pp.137-143, 2008-12-20 (Released:2010-06-28)

参考文献数

17

被引用文献数

1

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Although previous studies have examined what kind of object arrangement could give observer beautiful impression, they have not achieved agreement. While some studies found observers' preference for the arrangements whose centroids were congruent with the center of the picture frame, the other studies found the observers' preference for the arrangement whose centroids were in the right side in the frame. The main purpose of this study is to solve this disagreement among previous studies. We conducted three experiments in which concreteness of the picture was manipulated, and observers rated their impression for the pictures with different centroid position. We used black circles (Experiment 1), concrete objects on white background (Experiment 2), and concrete objects on backgrounds of natural scenes (Experiment 3). Only in Experiment 3, we found that observers consistently preferred for the pictures whose centroid of the arrangement was in right side. Our results indicate that concreteness of the pictures caused the biased preferencefor the right side of the pictures.