| Home > Scholarly Contributions > Abstracts > Volume 21 Issue 2
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| Volume 21 Issue 2
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INTRODUCTION
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SEIICHIRO NAMBA and SONOKO KUWANO, 2003, 21:2, 107.
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Abstract:
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NATURE AND AESTHETICS: OBLIVION AND INVENTION IN TECHNOLOGICAL EXPERIMENTS
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TOMONOBU IMAMICHI, 2003, 21:2, 109-115.
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Abstract:
Science is universal. Concerning the idea of science, there is no local characteristics and temporal speciality. Nevertheless, science is made by human individual existence, which is historically limited. Science is, therefore, structured as a process of ascent from the individual experience as special to the scientific dimension as universal. Science is a paradoxical synthese of individual speciality and unpersonal universality.
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1983 at discounted rates.
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ART AND ENVIRONMENT IN ANCIENT ATHENS: A SECRET OF THE PROPORTION 1:0.382
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TAKASHI SEKI, 2003, 21:2, 117-126.
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Abstract:
In the year 480/479 B.C., the acropolis of Athens was invaded by Persians and valuable treasures were plundered and the temples were destroyed and burned by the enemy. In the year 447 B.C. it was decided to build the Parthenon on the acropolis under the initiative of Perikles, the leading politician of the day. It is well known that Perikles had his own building program at the time of the reconstruction of the Athenian acropolis. When we study about why Propylaia could not have been built symmetrically or why the temple of Athena Nike had to have a peculiar form and others carefully, then we will be able to figure out the idea of "art and environment" of the ancient Greeks. In the following study, I will research why the special proportion of 1.000:0.382 was abandoned in the Periclean period to show an example of the idea of art and environment of the ancient Greeks.
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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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EXPERIMENTAL TECHNIQUES FOR INVESTIGATING THE CONTRIBUTION OF PICTORIAL BALANCE TO THE CREATION AND PERCEPTION OF VISUAL DISPLAYS
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PAUL J. LOCHER, 2003, 21:2, 127-135.
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Abstract:
This literature review describes a variety of experimental techniques that can be used to assess the contribution of compositional balance to the construction and perception of artworks and visual displays. Findings are presented which demonstrate the usefulness of these techniques for subjecting philosophical writings about balance and art composition to empirical scrutiny.
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1983 at discounted rates.
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AFFECTIVE AND SYMBOLIC MEANINGS OF COLOR AND FORM: EXPERIMENTAL PSYCHOLOGICAL APPROACHES
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TADASU OYAMA , 2003, 21:2, 137-142.
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Abstract:
Affective meanings of colors and forms were studied with the Semantic Differential technique and word-color/word-form associations. Results of word-color associations and word-form associations were in close relation with similarities of affective meanings between words and colors and between words and forms. Cross-cultural comparisons indicated wide generality of affective and symbolic meanings of colors and forms. However, some cultural differences were found, especially in evaluation. Affective meanings of various color-combinations and colored forms were compared with those of component colors and forms. Weighted linear combinations of affective effects of component colors or forms were found in those of color-combinations and color-form combinations, but interaction between components were found important especially in the evaluative dimension.
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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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SPECIAL IMAGE CONTENTS, PERSONALITY FEATURES, AND AESTHETIC PREFERENCES
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ANNA MARIA GIANNINI and PAOLO BONAIUTO, 2003, 21:2, 143-154.
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Abstract:
The theory of aesthetic emotion predicts higher aesthetic appraisals when images fit the beholder's main motivations, and, moreover, a relative equivalence between representations of violent scenes or incongruent configurations sensu strictu (Bonaiuto, 1966, 1983, 1998). Our new study aimed to specify distinctions among conflictual images, providing insights into taste formation processes that prefigure substantial differences found in studies on adulthood. Ten pairs of color laser reproductions of paintings by great artists were prepared, contrasting harmonious configurations with scenes strongly contradicting expectations. Five pairs contained an openly aggressive scene juxtaposed by a calm one; the others a structurally very incongruous picture juxtaposed by a congruent one. We first examined 500 children (7-10 years old), with appropriate scales, selecting two extreme subgroups: very aggressive and pro-social subjects ("altruists"). The image pairs were individually presented, recording the preferences. Data show a clear rejection of aggressive images by altruists, and attraction for such images in aggressive participants. The latter, nevertheless, had a greater liking for the incongruous images, that more indirectly and symbolically correspond to destructive drives. Socio-cultural variables were found to be non-influential.
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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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A MUSEUM EXPERIENCE: EMPATHY AND COGNITIVE RESTORATION
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HOLGER HÖGE, 2003, 21:2, 155-164.
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Abstract:
The evaluation of the Museumsdorf Cloppenburg (MDC) was threefold: 1) report on MDC history and an analysis of the museum policy; 2) environmental walk-through as a qualitative pilot study; and 3) a pre-post design visitor study on the museum experience--results on this part are presented here. Visitors were asked about their experiences by two questionnaires: 1) pre: socio-demographics and several aspects of visitor behavior and expectations were ascertained; and 2) the post-questionnaire asked about their experiences during the visit. Results showed that the way-finding problems identified by the environmental walk-through were not of importance to the visitors. However, although walking for roughly three hours through the MDC, visitors reported only moderate effects of fatigue, instead impressions of mental restoration were given to a high extent. Feelings of nostalgia, refreshed minds, and having received new insights dominated the experience of the museum visit. Hence, museums seem to have some psycho-hygienic power.
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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
twice a year for free and are able to purchase all back issues since
1983 at discounted rates.
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FAMILIAR AND FLUENT! STYLE-RELATED PROCESSING HYPOTHESES IN AESTHETIC APPRECIATION
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HELMUT LEDER, 2003, 21:2, 165-175.
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Abstract:
In order to discover general laws in the appreciation of artworks, an explanation of the mere-exposure hypothesis is extended to features which are typical of artworks. Artistic style--the way things are depicted--is discussed as a possible dimension along which increasing familiarity reveals changes in the preference structure. Empirical data from studies in which familiarity and style were varied seem to support the main hypothesis, but also reveal specific limitations. Generally, the pictorial fluency of an artificial style affected appreciation more than familiarity with a given style.
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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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ON THE SYNCHRONY BETWEEN FIGURE MOVEMENT AND SOUND CHANGE
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SEIICHIRO NAMBA, YUKI HAYASHI, SHU WAKO, 2003, 21:2, 177-184.
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Abstract:
To know about the correspondence between visual moving objects and auditory signals is useful in the production of image entertainments and multimedia information via communication network systems. In addition, it can contribute to fundamental research into the time perception in different modalities and the phenomenon of synesthesia. Subjective impression of synchrony between visual motion of a disk and auditory signal was examined in this study. The synchronization between the stopping of the motion of a disk on a screen and that of sound seemed to be important for the judgment of synchrony between audio-visual stimuli. The synchronization between the starting points of both stimuli seemed to be less important for the judgment of synchrony. The existence of a visual framework in the screen played little role for the synchrony at the point of stopping.
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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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PSYCHOLOGICAL EVALUATION OF WATERSIDE SPACE USING AUDIO-VISUAL INFORMATION
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M. MORINAGA, S. AONO, S. KUWANO, T. KATO, 2003, 21:2, 185-194.
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Abstract:
In order to investigate the effect of water sound on subjective impression, an experiment on the evaluation of the waterside space using audio-visual information was conducted. The interaction of audio-visual information and the relation between the physical characteristics of sound from water and the impression were examined. The experiment consisted of three conditions; only sound was presented in condition A, only visual image in condition V, and both sound and visual image in condition A+V. Impressions were estimated using the semantic differential. The results showed that the visual images have a great effect on the impression of waterside space and that as the sound pressure level of low frequency components becomes higher, the sound tends to be perceived as being more unpleasant.
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Buy the whole article at baywood.com - online shop now.
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1983 at discounted rates.
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