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| Home > Scholarly Contributions > Abstracts > Volume 16 Issue 2
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| Volume 16 Issue 2
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ADVERTISEMENTS: MULTILEVELED IN WORD AND IMAGE AND IN THE MIND OF THE BEHOLDER
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GERALD C. CUPCHIK, GARRY LEONARD, AND DEBRA IRVINE-KOPETSKI,
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Abstract:
This study compared cognitive and psychodynamic perspectives on responses to simple and complex advertisements for perfume and liquor products. In simple ads, copy/image relations are concordant and sentimentalized, while in complex ads relations are discordant and ironic. It was hypothesized that writing story outlines based on simple ads would provide a means for projecting compensatory fantasies onto the scenes, while analyzing copy/image relations in complex ads would make viewers more aware of stimulus qualities in the ads. Thirty-one make and twenty-one female undergraduates viewed four perfume and four liquod ads. Commodity (perfume, liquor) and Advertising Style (simple, complex) were factorially combined in two blocks of four trials each. In a within-subjects design, subjects either wrote story outlines first and analyzed copy-image relations, or vice-versa. They then rated each ad on thirteen 7-point scales measuring perceived stimulus properties (e.g., quality of the ad) and subjective processes (e.g., liking or experiencing fantasies). Results showed that three factors underlined the judgments: Compensation (enhanced feelings of success, confidence, power, and masculinity/feminity), Effectiveness (ad was liked, perceived as good stimulated fantasies, and an intention to purchase the product), and Action (everyday use of perfume/after shave or liquor products). Writing stories in response to simple perfume ads had a facilitative influence on scales loading on the Compensation factor. Content analysis showed that simple perfume ads elicited romantic stories, while analyzing copy-image relations fostered seduction themes and a sensitivity to metaphor. These findings provided support for Lacan's idea that people need to compensate for self-perceived inadequacies, but also fit with cognitive/empirical ideas.
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AN EXAMINATION OF OBJECTIVE AND SUBJECTIVE MEASURES OF EXPERIENCE ASSOCIATED TO ODORS, MUSIC, AND PAINTINGS
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RACHEL S. HERZ,
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Abstract:
Odors have been shown to elicit highly emotional memories, as well as alter emotions and induce moods. A critical challenge for the uniquences of olfactory emotional potency is a stimulus with perceived inherent emotional quality. Music and paintings are such stimuli. Notably, olfactory experiences are distinguished from auditory and visual experience by limited verbal representation. It was therefore speculated that weak linguistic representation might be responsible for the emotional potency of odors; and therefore if verbal fluency were controlled for, odor-evoked associations would lose their emotional distinctiveness. To test this hypothesis and assess the emotionality and quality of experiences and associations evoked by odors, music and paintings, two experiments were conducted. In Experiment 1 subjects assessed moderately familiar odors and music, and in Experiment 2 subjects assessed highly abstract (unfamiliar/unnamable) odors, music, and paintings. Rating scale and questionnaire (subject) and numbers of labels, memories, and heart-rate changes (objective) measures were obtained. Results revealed that, in both experiments, heart rate was consistently highly in response to odors than to music and paintings. It was also found that verbal fluency did not affect the emotionality of experiences to odors. Additionally, subjective and objective measures of emotional arousal were not related for any stimulus type, and despite objectively measured evidence to the contrary, subjects believed that music was able to affect their emotions and moods
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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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ARE THE DIMENSIONS UNDERLYING AESTHETIC AND AFFECTIVE JUDGMENT THE SAME?
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R DIGER BALTISSEN AND BARBARA-MARIA OSTERMANN,
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Abstract:
To investigate whether aesthetic and affective judgment are similar, ninety-six subjects rated twenty-four art pictures varying in theme and date of creation as well as twenty-three emotion inducing slides (IAPS) representing different emotional qualities on nine bipolar 8-point scales, e.g., warm-cold, meaningful-not meaningful. Factor analyses performed separately for each picture set revealed two basic dimensions, named cognitive and emotional factors, explaining about 60 percent of the variance. In the case of artworks, the dominant factor was constituted by cognitive scales (meaningful, interesting, simple); regarding the affective slides, the main factor was constituted by emotional scales (warm, emotional, arousing). ANOVAs confirmed the expected differences between themes and date of creation for the art picture as well as the differences between emotional qualities of the IAPS for both, the cognitive and the emotional factor. Proportion of variance of the ratings explained by gender, age, and education was low. Overall, results suggest that looking at art objects is a predominantly cognitive process requiring understanding whereas looking at emotional pictures evokes feelings with cognitive processes being only marginally involved.
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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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GENERATING AND RECEIVING CONTEXTUALIZED INTERPRETATIONS OF FIGURATIVE SCULPTURES
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GERALD C. CUPCHIK AND LANNY SHERECK,
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Abstract:
The primary goal of the experiment was to examine whether emotional and intellectual responses to sculptures increase or decrease over time. A second purpose was to explore the effects on these ratings of generating or receiving accounts of what was happening in these scenes. Seventy-two subjects viewed four groups of figurative sculptures in a public gallery and rated them twice on nine 7-point scales. They generated interpretations for two sculptures and received interpretations for two others between the first and second ratings. Results showed that emotional responses predominated during the initial encounter, while intellectual activity was more significant in the second one. Generating interpretations reduced the tendency for emotional impact and perceived originality to diminish over time. A qualititative analysis suggested four kinds of written interpretations; objectifying, personalizing, universalizing, and metaphorizing.
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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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PERSONALITY, CREATIVITY, AND AESTHETIC PREFERENCE: COMPARING PSYCHOTICISM, SENSATION SEEKING, SCHIZOTYPY, AND OPENNESS TO EXPERIENCE
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DAVID RAWLINGS, FIONNUALA TWOMEY, ELIZABETH BURNS, AND SHARON MORRIS,
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Abstract:
Three studies examined the relationship several measures of creativity and aesthetic preference and several established personality scales. Study 1 derived indices of Fluency, Originaly, and Preference for Complexity and Meaningfulness using random polygons varying in complexity (turns); the scales of Eysenck Personality Questionnaire (Revised) (EPQ-R), the Schizotypal Personality Scale (STA), and the Sensation Seeking Scale, Form V (SSS-V) were the personality measures. Study 2 added Openness to Experience from the NEO Personality Inventory (Revised) to the personality measures; factors derived from the Litle and Zuckerman Music Preference Scale were added to creativity/preference set. Study 3 replaced the polygons used in Study 2 with two Kogan-Wallach creativity tests, and added a word association task. Canonical correlations suggested a substantial relationship between SSV-V, Openness, and EQP-R Psychoticism, and a creativity/preference set particularly represented by Preference for Complexity, dislike of "soft popular" music, and originality or number of divergent thinking responses. Subscale analyses implicated willingness to question conventional values as a major component of the "creative personality."
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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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