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| Volume 14 Issue 2
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Daniel E. Berlyne (1924-1976): Two decades later.
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Vladimir J. Koneni, 1996, 14:2, 129-142.
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Abstract:
In this remembrance, Berlyne's seminal ideas about collative motivation and its role in aesthetic phenomena are first briefly reviewed. It is noted that these ideas had not been developed into a formal theory in Berlyne's lifetime. Next, Martindale's negative conclusions about three aspects of the collative motivation "theory"- a) the relative significance of collative, psychophysical, and ecological variables, b) the Wundt curve, and c) the trade-off between the variables that affect the arousal potential of stimuli, are challenged on conceptual and methodological grounds. It is further claimed that Berlyne's unfortunate fascination with the reticular arousal system sidetracked him from examining the role of sympathetic arousal, whereas the Hullian "baggage" blinded him to the involvement of emotion (with its cognitive, facial-musculature, and sympathetic arousal determinants) in various aesthetic phenomena. A number of pertinent experiments from Kone…ni's laboratory, which cause problems for both Berlyne's and Martindale's notions, are reviewed, with an emphasis on the importance of context and the type of dependent variable that is used in studying aesthetic phenomena. The article concludes with doubts about (proto)typicality as a key factor in aesthetic preference.
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The contribution of eye-movement research to an understanding of the nature of pictorial balance perception: A review of the literature.
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Paul J. Locher, 1996, 14:2, 143-163.
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Abstract:
The study of eye movements has been very successful in providing empirical support for theoretical writings concerning the influence of pictorial balance on perceptual processing of pictures and other types of visual displays. This article describes the nature of pictorial balance that emerges from eye-movement research and related empirical findings. A graphic representation of the interaction of stimulus-driven and cognitively-driven aspects of balance perception derived from this literature is presented and discussed.
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1983 at discounted rates.
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Color elements in national schools of painting: A statistical investigation.
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Vitaly S. Gribkov & Vladimir M. Petrov, 1996, 14:2, 165-181.
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Abstract:
A deductive model to explain the functioning of art brings forward regularities concerning the color elements which are used in paintings. To provide optimal perception both of individual paintings and of systems of paintings it is necessary to organize them in such a way that
- each given painting consists of four spectral color elements and one or two non-spectral ones (black and/or white);
- each national school of painting should be based on its "color-and-light standard" which is nothing but white color representing sunlight, and the properties of this "standard" should respond to the parameters of the sunlight typical for the region of a given culture;
- quite a definite "color triad" is inherent to each national school, dominating the majority of its paintings.
These regularities were verified using 822 paintings representing French, Italian, Spanish, and Russian national schools. The results obtained may be used not only for model purposes but also for various studies in history of art.
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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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Rhythmic and strophic organization in Mediaeval Hebrew Poetry: (A cognitive approach).
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Reuven Tsur & Yehosheva Bentov, 1996, 14:2, 183-203.
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Abstract:
This article explores the correlations and relative frequencies of certain prosodic structures in Mediaeval Hebrew Poetry, where metre is based on systematic manipulation of shorter and longer vowels (schwas versus full vowels). These correlations and frequencies cannot be accounted for by the explicit poetics of the period. It is assumed here that they reflect the tacit intuitions of the poets. The article presents several cognitive mechanisms underlying the experiencing of poetic rhythm, on the assumption that while metrical conventions may change from time to time and from style to style, the cognitive mechanisms underlying them show remarkable consistencies over considerable periods of time, and perhaps even across cultural traditions. The cognitive assumptions of the article include Gestalt theory, as well as the hypotheses concerning "limited channel capacity," and the nature of short-term memory.
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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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Affective and evaluative responses to the arts.
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Adrian C. North & David J. Hargreaves, 1996, 14:2, 207-222.
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Abstract:
This study investigated readers' judgments of greatness and preference in six art forms from 1,098 responses to a newspaper survey. High positive correlations were found between the frequency with which subjects nominated artworks and performers as the "greatest" and "favorite," although there was some indication that the criteria for greatness were more difficult to satisfy. There was general consensus on judgments of greatness and preference, which indicates that we agree on what constitutes good taste, although this consensus was higher for judgments of greatness than preference, and also for a small elite number of the greatest and most preferred works and performers. The results also indicated that there are trends over time in the ability of the arts to produce notable works, and that geographic factors may be related to these.
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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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