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Home > Scholarly Contributions > Abstracts > Volume 22 Issue 2
Volume 22 Issue 2
A COMPARISON OF THE PERCEIVED PICTORIAL AND AESTHETIC QUALITIES OF ORIGINAL PAINTINGS AND THEIR POSTCARD IMAGES
PAUL LOCHER and MELISSA DOLESE, 2004, 22:2, 129-142.
Abstract: Art trained and untrained participants evaluated postcard images of nine paintings by renowned artists on 16 measures of the compositions' physical and structural characteristics, novelty of content, and aesthetic qualities. These ratings were compared to those obtained by Locher et al. (2001) from individuals experiencing the original paintings in the galleries of the New York Metropolitan Museum of Art and from viewers of slide-projected and computer-generated images of the set of art stimuli. Analyses revealed significant differences in the judged hedonic properties of the originals as compared to the postcard images, whereas the pictorial qualities of the artworks were comparable for these two format conditions. This was the case for both art trained and untrained participants. Additionally, ratings on all measures were found not to differ reliably across the three reproduction formats (viz., postcard, slide, and computer images). Findings are discussed in terms of Locher et al.'s facsimile-accommodation hypothesis of picture perception.

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SURE, I'M CREATIVE--BUT NOT IN MATHEMATICS!: SELF-REPORTED CREATIVITY IN DIVERSE DOMAINS
JAMES C. KAUFMAN and JOHN BAER, 2004, 22:2, 143-155.
Abstract: The degree to which creativity is domain-specific or domain-general remains hotly contested, but there is at least one area of agreement: people have different creativity profiles. In this study, we asked 241 students to give self-ratings of their creativity in different domains. These ratings were then studied for inter-correlations. We also examined how such self-assessments in diverse domains relate to other measures of cognitive ability and to creativity as measured with a personality scale. In general, if students viewed themselves as generally creative, they also viewed themselves as creative in different areas. The only area that was not correlated with general creativity ratings was mathematics.

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ORIGINALITY AND TECHNICAL SKILL AS COMPONENTS OF ARTISTIC QUALITY
AARON KOZBELT, 2004, 22:2, 157-170.
Abstract: Artistic quality is often thought of in terms of two components: originality and technical skill. To examine the relations between these three constructs, 35 judges rated 72 drawings on 25 survey items related to quality, technical skill, and originality. Rasch statistical analysis revealed an underlying dimension of quality. Items related to both technical skill and originality loaded highly onto this dimension, indicating that both are components of quality. All three measures were strongly inter-correlated. Technical skill and originality jointly accounted for over 90% of the variance in quality. Despite a high correlation (r = .65), technical skill and originality can be distinguished in three ways: originality items fit the underlying quality dimension better than did technical skill items, originality was more difficult to achieve than technical, and the two kinds of items loaded with opposite valences on the first factor of a factor analysis.

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DRAWING UPON REPRESENTATIONS: AN EMPIRICAL STUDY OF THE DEPICTION OF THE HUMAN FACE
ERIC E. BRODIE, ROBERT WYATT, BRIDGET M. WALLER, 2004, 22:2, 171-180.
Abstract: Two findings reported in the face perception literature--the 3/4-view advantage and the functional independence of expression and identity--were investigated for the depiction of a face by artists. Six undergraduate art students drew a female face with three different expressions and from three different viewpoints. Analysis of the accuracy of depiction of the drawings by 50 independent raters revealed that both 3/4 left and 3/4 right views led to better representations of both identity and expression. However, an interaction between the artists focus of depiction (focusing on expression or identity) and accuracy of depiction suggested that an artist's route to representing expression is via identity. These findings question the notion of a clear distinction between expression and identity perception and are discussed in terms of the inhibition of higher order facial representations by artists and the maintenance of unfamiliarity.

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HEMISPHERIC PROCESSES IN THE PERCEPTION OF ART
JEFFREY CONEY and CHRISTINE BRUCE, 2004, 22:2, 181-200.
Abstract: Known differences in visual processing between the cerebral hemispheres imply the possibility of lateral asymmetry in aesthetic evaluation of art. In a test of this proposition, 40 participants were asked to indicate their preference for paintings projected to the left or right visual field. The stimuli were selected from representative works drawn from eight different European schools of art ranging from the 15th to 20th centuries. An overall right visual field preference was found for the paintings. A principal components analysis revealed that participants evaluated the paintings in terms of two distinct groups: older realistic art and more recent abstract art. The right visual field preference was found to apply only to abstract art. This finding is interpreted in terms of selective activation of each side of the brain resulting in the generation of asymmetrical affective states which influence aesthetic judgments.

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THEMATIC CONTENT AND POLITICAL CONTEXT IN SHAKESPEARE'S DRAMATIC OUTPUT, WITH IMPLICATIONS FOR AUTHORSHIP AND CHRONOLOGY CONTROVERSIES
DEAN KEITH SIMONTON, 2004, 22:2, 201-213.
Abstract: Empirical studies of Shakespeare's plays have usually assumed that the traditional Stratfordian chronology is basically correct. This assumption is cast in doubt by Oxfordians who claim that the plays were authored by Edward de Vere, the 17th Earl of Oxford. However, prior investigations have shown that Stratfordian chronologies are more strongly supported by stylometric analyses than are Oxfordian chronologies. In this study the two authorship positions are evaluated by examining the correlation between the thematic content of the plays and the political context in which the plays would be written according to rival sets of dates. Stratfordian chronologies, when lagged just two years, yield substantively meaningful associations between thematic content and political context, whereas Oxfordian chronologies yield no relationships, however lagged. Hence, only the Stratfordian results are consistent with previous research indicating that artistic creativity is responsive to conspicuous political events.

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