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| Volume 1 Issue 1
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Creativity and individual differences in asymmetrical cerebral hemispheric functioning.
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Albert N. Katz, 1983, 1:1, 3-16.
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Abstract:
In an attempt to see whether one can differentiate the highly creative from those of lesser creativity on the basis of hemispheric processing, 100 people were presented with a battery of creativity tests, control cognitive tests, and tasks known differentially to engage the left and right cerebral hemispheres. Compared to those of lesser creativity, the highly creative participants exhibited a greater tendency habitually to employ the right hemisphere in task solution and a pattern of cerebral lateralization marked by a greater segregation of verbal functions to the left hemisphere and bilateral representation of a nonverbal, melodic function. The success at predicting creativity level on the basis of hemispheric task performance was impressive, and was observed even when general intellectual abilities were equated in the high and low creative groups.
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Metaphor interpretation as selective inferencing: Cognitive processes in understanding metaphor (Part 1).
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Jerry R. Hobbs, 1983, 1:1, 17-33.
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Abstract:
The importance of spatial and other metaphors is demonstrated. An approach to interpreting metaphor in a computational framework is described, based on the idea of selective inferencing, in which a processor draws or refrains from drawing certain inferences in a controlled fashion. Two examples of metaphors are examined in detail in this light - a simple metaphor and a spatial metaphor schema. In Part 2, a novel metaphor will be examined and there will be a discussion, from this perspective, of some classic issues concerning metaphor, including the analogical processes that underlie metaphor, the stages in the life of a metaphor, and the definition of metaphor.
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Buy the whole article at baywood.com - online shop now.
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As member of the IAEA you receive the Empirical Studies of the Arts
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1983 at discounted rates.
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Detecting the differences in jazz: A comparison of methods for assessing perceptual veridicality in applied aesthetics.
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Morris B. Holbrook and Joel Huber, 1983, 1:1, 35-53.
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Abstract:
Applied aesthetics raises questions concerning the relationship of aesthetic appreciation to the underlying artistic features that can be manipulated in creating works of art. To the extent that subjective aesthetic judgments and objective artistic characteristics correspond, the process of communication is characterized by "perceptual veridicality." This degree of correspondence should be studied using real as opposed to artificially-constructed artworks and may be measured by either compositional or decompositional methods. By hypothesis, compositional approaches indicate the extent to which subjects can detect objective stimulus characteristics while decompositional techniques show the degree to which they do make such accurate distinctions. This hypothesis is tested on a set of real jazz recordings, with perceptual veridicality measured by mean squared canonical correlations between objective stimulus characteristics and perceptual maps derived by both compositional and decompositional methods. As expected, the compositional approach provides the better statistical fit. This result suggests that, as an assessment of veridicality, the compositional technique should be regarded as a measurement of cognitive capability rather than as an index of normal perceptual performance in aesthetic appreciation.
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Buy the whole article at baywood.com - online shop now.
To let you know:
As member of the IAEA you receive the Empirical Studies of the Arts
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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Form and function of Tridacna shell plaques from the Western Solomon Islands.
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Deborah Waite, 1983, 1:1, 55-74.
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Abstract:
Openwork plaques made from tridacna clamshell constitute a significant art form from the Western Solomon Islands. Known facts are relatively few: the plaques were associated with burials and were sometimes used or referred to as a special form of "Custom Money." Visual analysis of forty-two plaques or plaque fragments indicates that there are three groups separable on the basis of figure style, motifs, composition, and technical considerations such as the relative thickness of the plaques, surface finish, and the like. The article integrates known facts regarding function or use of the plaques with information about other clam shell artifacts from the same islands and with a detailed analysis of the plaques themselves so as to reconstruct something of the traditional cultural context and significance of these artifacts.
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Buy the whole article at baywood.com - online shop now.
To let you know:
As member of the IAEA you receive the Empirical Studies of the Arts
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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Cheating history: The rhetorics of art forgery.
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Gary Alan Fine, 1983, 1:1, 75-93.
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Abstract:
Art forgery is a curious crime. If aesthetic appreciation is based only upon the beauty of the work itself, forgery should not be considered a crime. However, art appreciation may be defined to include more than the form and content of the work itself. Appreciation can be connected to historical, biographical, legal, and economic issues which create the context of the work of art. I examine how art forgery is viewed by various participants in the art world and by the general public. Typically, forgers emphasize the beauty of the symbol abstracted from its circumstance, claiming that the value of the art work is not a function of its history. The establishment art critic insists on seeing the art symbol in its social and historical context, and defines a forgery as a work which cheats history. In order to examine the sociological nature of art appreciation and deviant art question, I examine three case studies of forgers: 1) Han van Meegeren, the Dutch forger of Vermeer and De Hooch, 2) Elmyr de Hory, the Hungarian-born forger of modern French art, and 3) Tom Keating, the Cockney forger of Samuel Palmer and other artists. In these case studies I describe how the forger entered his trade, his attitude to the art world, the extent to which his works were accepted, his justifications for forgery, and the rhetorical strategies used by others to define his "crime."
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As member of the IAEA you receive the Empirical Studies of the Arts
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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The sources of awe and reassurance in Kierkegaard’s Guds Uforanderlighed.
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Alastair McKinnon, 1983, 1:1, 95-107.
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Abstract:
This article reports the use of four tests to determine whether the relevant main portions of Kierkegard's sermon, Guds Uforanderlige, associate Forfœrdelse (awe) with Uforanderlige (the Unchangeable One) and Beroligelse (reassurance) with Uforanderliged (Unchangeableness) as suggested by a key section of the text. The first test compares the observed and expected frequencies of each of sixteen distinct Uforanderlige and Uforanderlighed expressions in the awe and reassurance sections of this text. The remainder of the tests are all chi-square tests of the relevant observed frequencies in these same two sections: the second that of all Uforanderlige and all Uforanderlighed expressions; the third that of all erig and all non-evig expressions; and the fourth that of all Uforanderlige expressions with and without the pronoun Du. The evidence suggests that the source of awe is the Unchangeable One and that of reassurance God's Unchangeableness.
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Buy the whole article at baywood.com - online shop now.
To let you know:
As member of the IAEA you receive the Empirical Studies of the Arts
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
See more benefits!
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