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عمومی::
طرحواره، طرحواره
We have argued elsewhere (Xenakis et al. 2012) with respect to the occurrence of two fundamental levels of aesthetic value-generating processes, where the first takes place in a vis- ceral (non-conscious) manner having strong underlying motivational substrates, while the second presupposes evaluations with stored information, schemata and expectations of the agent even for the simplest perturbation that elicits emotion.
With regard to different domains of aesthetic processing, we touch upon the relevance of cognitive schemata for aesthetic preference.
Keywords: aesthetics, aesthetic experience, experimental aesthetics, art, cognitive schemata, scripts, attitudes, sensitive period
Thus, schemata are higher-order cognitive structures that are relevant to understand how old knowledge and past experiences interact with new information (Brewer and Nakamura, 1984).
Referring again to a situation in which an object is aesthetically appreciated, the perceiver not only approaches the aesthetic object with a set of relevant attitudes, but also holds ready applicable schemata.،We have argued elsewhere (Xenakis et al. 2012) with respect to the occurrence of two fundamental levels of aesthetic value-generating processes, where the first takes place in a vis- ceral (non-conscious) manner having strong underlying motivational substrates, while the second presupposes evaluations with stored information, schemata and expectations of the agent even for the simplest perturbation that elicits emotion.
With regard to different domains of aesthetic processing, we touch upon the relevance of cognitive schemata for aesthetic preference.
Keywords: aesthetics, aesthetic experience, experimental aesthetics, art, cognitive schemata, scripts, attitudes, sensitive period
Thus, schemata are higher-order cognitive structures that are relevant to understand how old knowledge and past experiences interact with new information (Brewer and Nakamura, 1984).
Referring again to a situation in which an object is aesthetically appreciated, the perceiver not only approaches the aesthetic object with a set of relevant attitudes, but also holds ready applicable schemata.
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