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| Volume 15 Issue 1
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Quantification of determinism in music using iterated function systems.
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Brian Meloon & Julien C. Sprott, 1997, 15:1, 3-13.
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Abstract:
This article proposes a novel technique for exhibiting and quantifying the determinism in music. A written score of music is modeled as a dynamical system employing an iterated function system to generate a picture from the music. This picture is then analyzed using methods of chaos theory and time-series analysis to quantify the determinism. Comparisons with random and chaotic control data and with some algorithmic compositions are made. The method might be useful for cataloging different musical styles or perhaps even testing authenticity of musical compositions.
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Imagery, style, and content in thirty-seven Shakespeare plays.
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Dean Keith Simonton, 1997, 15:1, 15-20.
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Abstract:
Using the Regressive Imagery Dictionary (RID), Derks assessed the thirty-seven plays of Shakespeare on three content analytical variables: primordial content conceptual content, and incongruous juxtapositions. In the current study, these three RID measures were shown to correlate with style and content attributes not examined in the earlier article. For example, primordial content was found to be positively associated with the proportion of lines in rhymed verse and negatively associated with the proportion of lines in prose. Moreover, although this study replicated some of Derks' findings with respect to incongruous juxtapositions, it also discovered a negative relationship between this variable and the play's level of thematic richness. It is possible that some of these results are not idiosyncratic to Shakespeare, but rather they may characterize literary creativity in general.
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Salience of compositional cues and the order of presentation in the picture reversal effect.
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John P. McLaughlin & Julie Kermisch, 1997, 15:1, 21-27.
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Abstract:
Paintings containing cues suggesting left-to-right (LTR) motion are preferred by dextrals over their mirror-reversed versions (RTL) in forced-choices between the simultaneously-presented alternatives. To eliminate a simultaneous-contrast interpretation of the effect and to determine whether motion cues influence choice when paintings are seen alone, a successive-presentation procedure was used. When an LTR version preceded the RTL version, the LTR version was preferred within the pair by dextrals and also was preferred more frequently than RTL versions shown first. Thus, these compositional features of single versions were noticed and affected judgment. An order-of-presentation effect was also found, in that the first member of a pair was preferred. Possible explanations for this are considered.
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"High"-"low" cultural products and their social functions.
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Willie van Peer, 1997, 15:1, 29-39.
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Abstract:
This article discusses the opposition between "high" and "low" forms of culture as related to the emergence of literacy in society. Some empirical evidence (for the differences between high and low artistic products in terms of object properties and users' expectations) is discussed. The origin of the difference lies, so the argument runs, in the codification of high products and values through the writing system, which can subsequently act as external and independent quality control. Hence the acquisition of literacy is indicative and mimetic with respect to the initiation into high culture. Especially, the processes of self-control that are needed to master literacy, reflect the requirements of high culture. In this perspective, the "debate" on the opposition between high and low culture is seen as largely uninformative. On the one side, the opposition (linked, as it is, to literacy) is an inescapable one for industrialized societies, and takes on the form of a feed-back mechanism. On the other hand, we lack reliable empirical evidence about the influence of both forms on society. It is therefore up to empirical studies to eliminate the main ingredients that feed the antipathy between high and low forms: ignorance and fear.
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Preferences in symmetries and symmetries in drawings: Asymmetries between ages and sexes.
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Diane Humphrey, 1997, 15:1, 41-60.
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Abstract:
Visual structure in art has been studied by Arnheim and more recently by Leyton who suggests that an analysis of symmetrical structure is fundamental to the understanding of visual structure. Three experiments revealed age and sex differences in symmetry preferences with dot patterns and productions in drawings by children and adults. Asymmetrical patterns were less preferred and seen as less symmetrical with age, while patterns with multiple symmetries showed the opposite effects. Increasingly complex and creative use of symmetries with age were seen in drawings. Greater preference for multiple symmetries in dot patterns by females and more frequent use of bilateral symmetry in drawings by girls and multiple symmetries by women were in contrast to judgments of greater overall symmetry in drawings by males.
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Meaningfulness and hedonic values of paintings: Effects of titles.
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P. A. Russell & S. Milne, 1997, 15:1, 61-73.
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Abstract:
The effects of presenting titles along with abstract and semi-abstract paintings was examined in two experiments. In the first, subjects rated twenty paintings for meaningfulness, pleasingness, interestingness, abstractness or complexity, in a between-subjects design, and either with or without titles. The titles increased rated meaningfulness and decreased rated abstractness but had no effect upon pleasingness (hedonic value) and the other measures. In the second experiment, it was shown that only the paintings' actual titles, and not bogus ones, increased their meaningfulness. The results are discussed in terms of the notion that titles are an aid to meaningful interpretation of paintings. The finding that titles increased meaningfulness but did not affect hedonic value is inconsistent with the theory that the hedonic value of paintings is linked to cognitive processes associated with the interpretation of their meaning.
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The effect of physical attractiveness on responses to pop music performers and their music.
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Adrian C.North & David J. Hargreaves, 1997, 15:1, 75-89.
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Abstract:
Previous research has shown that manipulations of source prestige can mediate subjects' responses to music, and that attractive people are perceived more positively than their unattractive counterparts. In light of this, the present study investigated the effects of the physical attractiveness of twenty pop music performers on adolescent subjects' responses to them, and excerpts of new age/ambient dance music allegedly by these artists. A series of adjectival scales gave rise to multivariate main effects of physical attractiveness on ratings of both the performers and their alleged music, with univariate main effects on the scales indicating that performer physical attractiveness was perceived positively by the subjects. There was also evidence that responses to the music were associated positively with responses to the performers. These results indicate that the performer of music can influence aesthetic responses, and that his/her physical attractiveness may mediate the nature of this relationship.
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Fechner in context: Aesthetics from below, inner and outer psychophysics: A reply to Pavel Machotka.
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Holger Höge, 1997, 15:1, 91-97.
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Abstract:
In his recent article Machotka has discussed several difficulties of Fechner's unique approach to look for progress in the field of aesthetics: from below. Machotka proposed a radically different methodology: (a) perception of interrelations, (b) giving form to content, (c) fitting form to content, and (d) bending rules. My basic argument is that his new methodology is still based on Fechner's methods, i.e., from below, however, on a higher level of complexity. Finally, some light is cast on the role Fechner assigned to the two parts of psychophysics: inner and outer psychophysics and their relation to aesthetics.
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Reply to Höge.
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Pavel Machotka, 1997, 15:1, 99-100.
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Abstract:
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Various attempts to establish a basic form of beauty: Experimental, aesthetics, Golden Section, and square.
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Gustav Theodor Fechner*, 1997, 15:2, 115-130.
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Abstract:
Several aspects of proportionality and non-empirical investigations of proportions are discussed. Most of these studies intended to establish a general type of pleasant forms of beauty. Objections against the empirical method are refuted although it is admitted that the feeling of the artist may be the best way to find the most beautiful solution. The major part of the article reports the empirical proof on the pleasantness of proportions based on the selections among ten different quadrangles (proportions from 1: 1 to 5:2). The peak of pleasingness was found with the golden section rectangle (35%), based on the choices of 347 Ss. Data on preference for and rejection of rectangles, as well as details of Ss' reactions are reported. Musically defined proportions did not show any superiority over other kinds of proportion. The preference for the golden section, however, was not found in a task of dividing a vertical line. It is concluded that the importance of the golden section has been overemphasized.
*Translation of chapter XIV of Fechner's Vorschule der Aesthetik, based on the reprint of the 3rd edition 1925 (1st edition 1876). Published with the approval of the original publisher, Breitkopf & Härtel. Translated by Monika Niemann, Julia Quehl, and Holger Höge, Carl von Ossietzky Universität of Oldenburg, Germany.
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