關於 psychological concepts ，我們在網路上蒐集到這些相關的討論、資訊與評價

假設你在街上看到一個很漂亮的馬克杯子，想要把它買下來⋯⋯你瞥了瞥價錢牌—到底以下那個價錢牌更容易讓你把它買下來？

A: 299
B: $299

促發效應(Priming effect)，是指我們大腦內隱記憶的效應，而這個效果是指受到一種刺激 （即知覺模式）時，會影響到另一個刺激的反應。舉個例子說，如果你現在剛好看到一個醫生，不久之後我叫你舉出一個職業，當然，你很有可能會舉出醫生這個例子，但也有機會舉出護士、治療師等等的答案，因為你的大腦在看到醫生的一刻自動激活了「醫護」的概念。

應用在生活層面，我們很多時候會掉進商人精心設計的陷阱。包裝得很高級的食物，會令你先入為主對它有正面的印象，而這會影響你下一個反應：「吃完後覺得蠻好吃的......」明明食物的味道可能不怎麼樣。 也有一些餐廳，為你讓了多點幾個菜，侍應收餐桌上的碗碟收得很快—因為桌上的碗碟的促發效應會令你感覺到：「自己已經吃很多了，不可以再點了。」所以餐廳都會趕快把碟子收乾淨。

所以到底「299」和「$299」，哪一個會令你有更大的購買欲？答案是「299」。金錢的符號（$）會促發「花錢痛苦效應」，也就是人類在花錢時出現的痛苦感。相反「299」則巧妙地避開了這問題，讓你心甘情願地把
那杯子買下來喔！

Reference: Weingarten; et al. (2016). "From primed concepts to action: A meta-analysis of the behavioral effects of incidentally presented words". Psychological Bulletin. 142: 472–497. doi:10.1037/bul0000030.

💌 #心理學教室 科和為你帶來更多心理學小知識！

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想了解更多關於我們立即瀏覽👇🏻
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《價錢牌的心理陷阱》

假設你在街上看到一個很漂亮的馬克杯子，想要把它買下來⋯⋯你瞥了瞥價錢牌—到底以下那個價錢牌更容易讓你把它買下來？

A: 299
B: $299
促發效應(Priming effect)，是指我們大腦內隱記憶的效應，而這個效果是指受到一種刺激 （即知覺模式）時，會影響到另一個刺激的反應。舉個例子說，如果你現在剛好看到一個醫生，不久之後我叫你舉出一個職業，當然，你很有可能會舉出醫生這個例子，但也有機會舉出護士、治療師等等的答案，因為你的大腦在看到醫生的一刻自動激活了「醫護」的概念。

應用在生活層面，我們很多時候會掉進商人精心設計的陷阱。包裝得很高級的食物，會令你先入為主對它有正面的印象，而這會影響你下一個反應：「吃完後覺得蠻好吃的......」明明食物的味道可能不怎麼樣。 也有一些餐廳，為你讓了多點幾個菜，侍應收餐桌上的碗碟收得很快—因為桌上的碗碟的促發效應會令你感覺到：「自己已經吃很多了，不可以再點了。」所以餐廳都會趕快把碟子收乾淨。

所以到底「299」和「$299」，哪一個會令你有更大的購買欲？答案是「299」。金錢的符號（$）會促發「花錢痛苦效應」，也就是人類在花錢時出現的痛苦感。相反「299」則巧妙地避開了這問題，讓你心甘情願地把那杯子買下來喔！

Reference: Weingarten; et al. (2016). "From primed concepts to action: A meta-analysis of the behavioral effects of incidentally presented words". Psychological Bulletin. 142: 472–497. doi:10.1037/bul0000030.

#心理學 #生意 #金錢 #marketing #商業

2016中國大陸連州國際攝影年展 (2016 LIANZHOU FOTO, China )
再凝望-台灣當代攝影的新視野 (Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography) (海報設計 / 湯詠棉)

策展人 / Curator : 沈昭良 (Chao – Liang Shen)
藝術家 / Artist : 李立中 (Li - Chung Lee) – 神遊 (Space Out), 李岳凌 (Yehlin Lee) – 黑暗聆聽(Listening to the dark), 李雅妍 (Ya - Yen Lee) – 俄頃的呢喃 (Flash of Whispering), 杜韻飛 (Yun - Fei Tou) – 生殤相(MEMENTO MORI), 陳以軒 (I - Hsuen Chen) – 遍尋無處 (Nowhere in Taiwan), 陳伯義 (Po - I Chen) – 遺留 (Remains), 陳淑貞 (Shu - Chen Chen) – 婚移全家福 (Interracial marriage family portrait), 黃建樺 (Chien - Hua Huang ) – 編碼者 (Transcoder), 羅晟文 (Sheng - Wen Lo) – 白熊計劃 (White Bear), 蕭又滋 (Arron Hsiao) – 列車計畫 (Train Project) 。

開幕導覽 / Guided Tours : 2016. 11. 20 / PM : 18 : 30 - 19 : 45
地點 / Location : 二鞋厂3、5 展示区 / Shoe Factory - Display Area 3 & 5
展期 / Duration : 2016. 11. 19. - 12. 9
http://www.lianzhoufoto.com/exhibition.aspx

再凝望 - 台灣當代攝影的新視野
文 / 沈昭良

台灣整體藝術創作的發展，自1987年解除戒嚴令以來，明顯透過對於歷史、土地的溯源，聚焦在更為貼近現實的議題建構與意識盤整上，援引生命、生態、環境、城市、空間、能源、消費、權力、殖民、國族、全球化、後工業與內在探索等個別或複合紋理，進行兼具結構性與時代性的回應與提問。

其中，攝影創作的發展，自然也在這種內外衝擊的交流轉向中，一方面逐步調整視覺語法，一方面扎根於在地關注、全球論述與數位融合的基礎上，透過直視景物、排除 / 貫徹個人情感、對於生命哲理與存在價值的探究、關注人類與環境間的議題，數位材料技術的引用，以及大尺幅或視覺群化展示等等形式特徵，具體產生了各式發想自現實題材，時而宏觀遠眺，時而微觀凝視的創作。

此次的＜再凝望-台灣當代攝影的新視野＞展，則是在上述的發展脈絡下，針對台灣內部，相對具備特定方向與論述的攝影創作內容，所進行的集結與梳理。包括杜韻飛(Yun-fei Tou)的「生殤相」 (MEMENTO MORI)，藉由西方藝術史裏的肖像語境，拍攝台灣數家公立收容所內的流浪犬，於安樂死當日的最後身影。在觀看與被觀看、主體與客體的轉換中，以接近人身大小的作品展示，探討人類與他者間的支配與宰制關係。羅晟文 (Sheng-wen Lo)的「白熊計劃」 (White Bear)，則是透過在全球各地所拍攝，人類圈養的白熊與其所處的人造環境，進而延伸人與自然環境、動物圈養及動物權等命題。

陳以軒 (I-hsuen Chen)的「遍尋無處」(Nowhere in Taiwan)，主要描述自身因為留學而經歷了反向的文化衝擊，在非純粹風景與城市景觀的曖昧交界，透過公路攝影，不自覺望向孤立疏離的自我身影。李岳凌 (Yehlin Lee)的「黑暗聆聽」(Listening to the Dark)，試著將抽像聽覺做為視覺書寫的因子，隨著攝影，徘徊在日沒微光的幽暗邊界。李雅妍 (Ya-yen Lee)的「俄頃的呢喃」 (Flash of Whispering)，則是藉移動在都市裏的無預警遭遇，透過直覺反射式的隨機抓拍，一方面回應來自城市街頭的呢喃召喚，一方面探索周遭景物與自身靈魂間的密碼囈語。

陳淑貞 (Shu-chen Chen)的「婚移全家福」 (Interracial marriage family portrait)系列作品，內容聚焦在外籍配偶的家庭合照。藉由她們所居住的空間、內部陳設與神韻樣態，進一步思考異國婚姻在語言、文化、習慣乃至於信仰的融匯上，可能的和諧與曲折。蕭又滋 (Arron Hsiao)的「列車計畫」 (TRAIN PROJECT)則是搭配高速閃光燈，以無差別的隨機方式，拍攝快速行進中的列車車廂，呈現個體在封閉空間與人群中的精神樣態。陳伯義(Po-i Chen)的「遺留」(Remains)系列，主要拍攝台灣自1949年起至1960年代，來自中國大陸各省的國民黨部隊及眷屬所居住的眷村，在拆遷後現場所遺留的物件，藉以回溯在大時代下的顛沛遷徙，所隱含的政治、社會、族群與認同議題。李立中(Li-chung Lee)的「神遊」 (Space Out)，則是針對現今台灣廟宇內部的空間採集，探索靈界的空間配置在現代化進程中，展現的特異與多元組合。

另外在數位攝影的創作實踐上，黃建樺(Chien-hua Huang )的「編碼者」(Transcoder)，透過詼諧馳騁卻猶如社會縮影的樂園，試圖在社會形態、生存機制與角色身份的相互指涉中，折射出人們對於世界的想像與追尋。

最後，期望透過＜再凝望-台灣當代攝影的新視野＞－這個群展，階段性描繪，在全球當代攝影的發展進程中，台灣新世代攝影創作者的凝望和步履。

Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography
By Chao-liang Shen

The evolution of the creation of art in Taiwan as a whole has been calling for an answer to the structural questions of the times since Martial Law was abolished in 1987. Undoubtedly, through tracing back to the sources of history and the origin of the homeland, artists have been able to focus on agendas that are closer to reality and the correction of ideology, leveraging individual or compound cases of life, ecology, environment, the city, space, energy, consumption power, authority, colonization, nation, globalization, post-industrial revolution, and inner searching.

Amid these topics, the development of photography naturally echoes the aforesaid internal and external shocks and changes, and different visual languages have gradually been generated. Moreover, photographers have begun to plant their creative roots in the combination of local focus, global discourse, and digital convergence. These concepts are characterized by direct view, including and excluding one’s emotions, combing through life philosophy and the value of existence, addressing human-environment relations, borrowing digital material or techniques, large-scale pieces, conceptual grouping, and so on. All of these have led to concrete creations inspired by real-life topics in views both macro and micro.

The “Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography” exhibition collects and combs through the aforementioned context, featuring Taiwanese photography pieces with specific angles or arguments. MEMENTO MORI by Yun-fei Tou presents euthanasia in a couple of public animal shelters in Taiwan with the images of the stray dogs on the last day of their lives through portrait works in the style of western art history. Switching roles between the gazing and the gazed-upon, or the subject and the object, the influx of true-to-size photography works probe the dominance relationship between human beings and others. White Bear by Sheng-wen Lo, on the other hand, discusses topics extending to animal rights and captive breeding from the interactions between human and Mother Nature through images, taken all over the world, of captive white bears and the artificial environment in which they are fenced.

Nowhere in Taiwan from I-hsuen Chen mainly illustrates the photographer’s reverse culture shock after returning home from studying overseas. On the vague line between atypical sceneries and city landscape, the photographer looks into his own isolated and lonely shadow. Listening to the Dark by Yehlin Lee attempts to write visually through the abstract sense of hearing. The photographer has been wandering along the dim boundaries in the low light of sunset with his camera. Flash of Whispering by Ya-yen Lee is a collection of reflective snapshots as the response to the summons of the city streets. The images are the code-talk of her surroundings and her soul.

Interracial marriage family portrait by Shu-chen Chen features portraits of foreign spouses and their family in Taiwan. Through representation in details of their facial expressions and living space and interior decorations in their families, Chen’s images demonstrate both harmony and conflicts reflected in the contrasts of their languages, culture, habits and regional beliefs. TRAIN PROJECT by Arron Hsiao uses high-speed flash to engage in a “shooting spree” to capture moving trains. The photographer intends to show the psychological states of individuals in a confined space and among crowds. Remains from Po-i Chen mainly shoots the things left behind by the families of KMT troops who moved from various provinces in China to Taiwan from 1949 to 1960 in their military villages after the demolition and relocation of the military communities. The photographer reviews the historical journey as well as hidden political, social, racial and identity debates. Space Out from Li-chung Lee focuses on picking up of pieces of space in Taiwanese temples to build his narration of the bizarre and diverse combination of space planning of the invisible world in modernization.

On the implementation and practice of digital photography, Transcoder by Chien-hua Huang seeks the refraction of people’s imagination and wants of the world through inter-references of forms of society, the survival mechanism, and role/identity playing in humorous ways, as if society were an entertainment park.

In conclusion, I hope that the group exhibition “Yet Another Gaze - New Horizon of Contemporary Taiwanese Photography” can bring together the creative momentum of the new generation in Taiwan to portray the gazes and steps of the stage we are now at as part of the progress of global modern photography.

迪士尼電影《魔雪奇緣》有多瘋魔萬千小女孩，人所共知。不過，有家長告知我們，連囝囝亦是超級Fans，不僅天天拿著Elsa公仔在唱「Let it go」，還說要買公主裙來扮演Elsa，弄得父母很擔心：「我囝囝是否有易服癖？或是有性別認同障礙？」

嗱嗱嗱，在胡思亂想之前，不如先聽聽美國心理學家Lawrence Kohlberg怎樣說。

參考資料
Berk, L. E. (2013). Emergency of Gender Identity. Child Development,9,548-560. Boston: Pearson
Cvencek, D., Meltzoff, A. N., & Kapur, M. (2014). Cognitive consistency and math–gender stereotypes in Singaporean children. Journal of Experimental Child Psychology 117, 73–91.

Jacobs, J.E. (1991). Influence of Gender Stereotypes on Parent and Child Mathematics Attitudes. Journal of Educational Psychology, 83, 518-527. American Psychological Association, Inc.

Kohlberg, L. (1996). A cognitive-developmental analysis of children’s sex-role concepts and attitudes. In E.E. Maccoby (Ed.), The development of sex difference (pp82-173). Standard, CA: Stanford University Press.

Martin & Little. (2008). The Relationship of Gender Understanding to Children’s Sex-typed Preferences and Gender Stereotypes. Child Development, 61, 1427-1439.

Ken R. Wells. "Gender Constancy." LoveToKnow.

University Of Michigan. (2007, June 25). How Dads Influence Their Daughters' Interest In Math. ScienceDaily.