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Diplomarbeit Diplomarbeit Titel der Arbeit Viennese Art Picture System Verfasserin Patricia Schäfer, BA Angestrebter akademischer Grad Magistra der Naturwissenschaften (Mag. rer. nat.) Wien, im Oktober 2015 Studienkennzahl lt. Studienblatt: A 298 Studienrichtung lt. Studienblatt: Psychologie Betreuer: Univ. Prof. Dipl. Psych. Dr. Helmut Leder 2 3 Danksagung An dieser Stelle möchte ich mich bei all jenen Menschen bedanken, die zur Entstehung, Durchführung und Fertigstellung dieser Diplomarbeitsstudie in irgendeiner Art und Weise beigetragen haben. Danken möchte ich zunächst meinem Betreuer, Herrn Univ. Prof. Dr. Helmut Leder. Er ermöglichte mir die Bearbeitung dieses Diplomarbeitsthemas und war mir während des gesamten Arbeitsprozesses eine wichtige Motivationsquelle. Danken möchte ich auch meinem zweiten Betreuer, Herrn Mag. David Brieber, der mir von Anfang an eine wichtige Ansprechperson war und mir mit fachlicher Unterstützung und konstruktiver Kritik zur Seite stand. Herzlich gedankt sei auch Herrn Mag. Andreas Gartus, für seine freundliche und hilfsbereite Art und die wertvollen Ratschläge, insbesondere im Umgang mit E-Prime. Vielen Dank all jenen, die sich zur Teilnahme an dieser Diplomarbeitsstudie bereit erklärten und somit die Normierung der vorliegenden Bilddatenbank überhaupt erst ermöglichten. Ein ganz großes Dankeschön geht an meine Freunde, die mich nicht nur während der Arbeit an dieser Diplomarbeit motivierten und unterstützten, sondern während des gesamten Studiums für mich da waren. Es war eine tolle Studienzeit! Besonders danken möchte ich meinem Freund Matthias. Durch seine empathische, humorvolle und unbekümmerte Art war er mir eine wichtige emotionale Stütze und erinnerte mich stets daran, neben Studium und Arbeit die wesentlichen Dinge nicht aus den Augen zu verlieren. Widmen möchte ich diese Arbeit meiner Oma, meinen Eltern und Geschwistern, „Schwester“, sowie Mario und Tina. Ohne eure finanzielle und moralische Unterstützung, Anteilnahme und Hilfsbereitschaft wäre ich niemals so weit gekommen! Danke! 4 5 Kurzzusammenfassung Eine zentrale Herausforderung kunstpsychologischer Forschung resultiert aus dem Untersuchungsgegenstand an sich: Kunstwerke, insbesondere Gemälde, sind komplexe visuelle Stimuli, die hinsichtlich zahlreicher Eigenschaften und Dimensionen variieren. Bisherige Studien zeigen, dass Eigenschaften wie Bildqualität, Stil oder Inhalt ästhetisches Erleben beeinflussen können, weshalb deren systematische Berücksichtigung in einem experimentellen Design von zentraler Bedeutung ist. Darüber hinaus evozieren Gemälde die unterschiedlichsten ästhetischen Reaktionen, sodass eine objektive Beschreibung forschungsrelevanter Ausprägungen nur auf Basis normativer Ratings möglich ist. Ziel der vorliegenden Diplomarbeit war es, die Verfügbarkeit normierter Stimuli aus dem Bereich der Malerei zu verbessern. Zu diesem Zweck wurden 1000 digitale Abbildungen von Gemälden unterschiedlicher Stilrichtungen und Bildgattungen (Szenen, Portraits, Landschaften, Stillleben, abstrakte Malerei) gesammelt und, basierend auf den Daten von 60 Männern und 60 Frauen, hinsichtlich visueller Komplexität, Bekanntheit, emotionaler Valenz (Wertigkeit) und Arousal (Aktivierung) sowie Gefallen normiert. Es wurden Hypothesen zum Einfluss von Stil und Inhalt, ebenso bezüglich eventueller Zusammenhänge zwischen den erhobenen Ratings überprüft. Mit dem Viennese Art Picture System (VAPS) steht aktuell ein umfangreiches Stimulusset zur Verfügung, das im Rahmen kunstpsychologischer Forschung genutzt und weiterentwickelt werden kann. Die Bilddateien, ebenso wie deren normative (Mittelwert und Standardabweichung) und kunstbezogene Beschreibung (Künstler/in, Titel, Datierung), werden der Druckversion dieser Arbeit auf CD-ROM beigelegt. 6 7 Abstract A specific challenge of psychological research in arts results from the subject itself: artworks, especially paintings, are complex visual stimuli that vary in numerous properties and dimensions. Previous studies indicate that stimuli features like image quality, artistic style or depicted content can affect aesthetic experiences. Therefore, the systematic consideration of these variables in an experimental design is of vital importance. Moreover, paintings evoke distinct aesthetic reactions, so an objective description of research-related characteristics needs to be realized by normative ratings. The aim of this thesis was to improve the availability of standardized stimuli in the field of painting. For that purpose, 1000 digitalized paintings of different styles and genres (scenes, portraits, landscapes, still life, abstract painting) were collected and, based on the ratings of 60 men and 60 women, standardized with regard to visual complexity, familiarity, emotional valence, arousal and liking. Hypotheses about the influence of content and style are tested, as well as assumptions regarding any relationships between the gathered ratings. The Viennese Art Picture System (VAPS) provides a comprehensive database, which can be used and enhanced in the context of psychological research in arts. The image files, as well as their normative (mean, standard deviation) and art-related descriptions (artist, title, dating) are saved on CD- ROM and enclosed to the print version of this thesis. 8 9 Inhaltsverzeichnis 1. Einleitung ......................................................................................................... 11 2. Das Viennese Art Picture System ............................................................... 13 2.1. Zielsetzungen ....................................................................................................... 13 2.2. Kategoriensystem ................................................................................................ 16 2.2.1. Hauptkategorien ....................................................................................... 16 2.2.2. Nebenkategorien ...................................................................................... 18 2.3. Theoretischer Hintergrund .................................................................................. 20 2.3.1. Modell der ästhetischen Erfahrung .......................................................... 20 2.3.2. Perzeptuelle Eigenschaften ...................................................................... 24 2.3.3. Kollative Bildeigenschaften ...................................................................... 25 2.3.4. Stil und Inhalt ............................................................................................ 26 3. Normierung............................................................................................... 29 3.1. Visuelle Komplexität ............................................................................................ 29 3.2. Bekanntheit ......................................................................................................... 31 3.3. Emotionale Valenz und Arousal .......................................................................... 32 3.4. Gefallen ............................................................................................................... 33 3.5. Kontrollvariablen ................................................................................................. 34 4. Hypothesen ............................................................................................... 36 4.1. Vergleich der Hauptkategorien ........................................................................... 36 4.2. Zusammenhänge zwischen den Dimensionen .................................................... 37 4.2.1. Arousalratings ........................................................................................... 37 4.2.2. Gefallensratings ........................................................................................ 38 4.2.3. Komplexitätsratings .................................................................................. 39 5. Methode .................................................................................................... 40 5.1. Bilder ................................................................................................................... 40 5.2. Teilnehmer .......................................................................................................... 40 5.3. Design .................................................................................................................. 40 5.4. Ablauf und Instrumente ...................................................................................... 41 10 6. Ergebnisse ................................................................................................. 43 6.1. Kontrollvariablen ................................................................................................. 43 6.2. Vergleichbarkeit der Teilnehmergruppen ........................................................... 43 6.3. Deskriptive Statistik ............................................................................................. 44 6.4. Vergleich der Hauptkategorien ........................................................................... 45 6.5. Zusammenhänge zwischen den Variablen .......................................................... 48 6.5.1. Arousalratings ........................................................................................... 48 6.5.2 Gefallensratings ......................................................................................... 51 7. Diskussion ................................................................................................
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