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| Volume 24 Issue 1
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INTRODUCTION
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JOĆO PEDRO FRÓIS, 2006, 24:1, 1-2.
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Abstract:
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ART, SCIENCE, AND HUMOR: THE STUDY OF HUMOROUS EXPERIENCE AT THE INTERSECTION BETWEEN PSYCHOLOGY AND THE ART WORLD
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PAOLO BONAIUTO, 2006, 24:1, 3-41.
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Abstract:
A theoretical model of humorous experience, organically interlinking different components (Bonaiuto & Giannini, 1987, 2003) is presented. In particular, we studied the world of illustrations, which are easy to manipulate through systematic collections and/or experimental modifications. Essential conditions found for humor consist of the perceptibility of illustrations' configurations based on "completion" skills favored by a beholder's dispositions. Moreover, necessary conditions include the presence of one or more paradoxes, i.e., contradiction of expectations (motivations, habits, and mental schemata), and other conflicts, with ambivalence between conflict repulsion vs. conflict attraction and protection. From these conflicts, the dynamics move toward humor only if there are conditions for a feeling of superiority and relative emotional detachment. The technical contrivances used by visual artists to guarantee these ingredients in the average beholder are listed. Summarized are phenomenological analyses and experimental investigations that show the role of rounded and stylized vs. angulated detailed shapes, and playful-reassuring vs. alarming-serious colors, in facilitating humor through the avoidance of conflict overloading and excessive emotional involvement. The use of humor in scientific demonstrations is described with reference to studies on serial reproduction. Examples from art works of different periods show how the conditions for humor have been intuitively and effectively taken into account even by famous artists such as Leonardo, Michelangelo, Picasso, Magritte, and by contemporary illustrators. Parodies of famous paintings and humorous illustrations on current visual art expectations of the ordinary beholder are included in the article. Also cited are cases of kitsch productions and the nature of humor in disciplines besides the visual arts, such as literature and the performing arts. The high frequency of humor elicited by art works is explained as a correlate of the higher levels of tolerance for conflict and incongruity characterizing artists' and their followers' personalities.
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1983 at discounted rates.
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CAREERS IN THE DRAMATIC ARTS: COMPARING GENETIC AND INTERACTIONAL PERSPECTIVES
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NATHAN KOGAN and BARBARA L. KANGAS, 2006, 24:1, 43-54.
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Abstract:
Taking account of both intrinsic and environmental determinants, Kogan (2002a, b) describes possible interactions between them in a developmental model of performing-arts careers. An alternative model of talent development is offered by Simonton (1999, 2001), who has drawn upon the earlier behavior-genetic research of Lykken (1982), particularly the concept of emer-genesis. Questionnaire data from a sample of 122 students in the Actors Studio drama school was examined for its consistency with the Lykken-Simonton emergenesis model. Consistent with the model's expectations, parental professional participation in the dramatic arts was very low, age at which students decided to pursue a dramatic-arts career varied widely, and students' prior school and undergraduate college experience exhibited considerable heterogeneity. The relative merits of a model based entirely on genetic trajectories are discussed in comparison with interactive and purely environmental models. Given the limited empirical base, however, it is far from evident which approach offers the greatest potential for predicting who will become the best actors, directors, and playwrights of the future.
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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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INVESTIGATION OF THE PROTOTYPICALITY OF VISUAL STIMULI IN THE DRAWINGS OF SEVEN-YEAR-OLD CHILDREN
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WIESLAWA LIMONT and JOANNA DRESZER, 2006, 24:1, 55-70.
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Abstract:
The aim of the present study was to determine whether simple visual signs (shapes) located on the plane reveal the effect of prototypicality. The research used seven-year-old children's drawings produced from a set of simple line sign stimuli: semicircle, perpendiculars, a straight line, a diagonal, and a wavy line. The stimulus set was rotated on a form into one of four successive positions to change the location of the stimuli. The drawings composed of stimuli of specific shapes were divided into semantic categories. Analyses revealed that the prototypicality of the stimuli is related to both the shape and location of the stimuli. Additionally, the study identified two stimuli, a semicircle and perpendiculars, whose shapes show the effect of proto-typicality irrespective of their stimulus location.
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1983 at discounted rates.
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ARTISTIC STYLES AND PERSONALITIES: A CLOSE VIEW AND A MORE DISTANT VIEW
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PAVEL MACHOTKA, 2006, 24:1, 71-80.
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Abstract:
In the empirical study of the arts, two approaches exist which illustrate different assumptions about what phenomena are most central to our concerns: the study of central tendencies, which seeks general principles, and the study of differences, whose aim is to accept differences as crucial and then explain them. Nowhere is the study of variability more important than in the creation of works of art; and no approach to accounting for the variability is more promising than a detailed study of the personalities of the creators. Research is discussed here in which the creation of images by undergraduate participants was followed closely, and their personalities were studied clinically by means of a psychodynamic interview. The individual dynamics seemed intimately connected with the processes of image making (the close view). A later cluster analysis of image types revealed that the individual dynamics were consistent within clusters and different between clusters (the distant view). Seven approaches to image making could be identified in this study and described in detail.
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1983 at discounted rates.
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THE SEMANTIC REPRESENTATION OF ACTRESSES AND ACTORS
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J. FREDERICO MARQUES, 2006, 24:1, 81-93.
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Abstract:
The present study explores the structure of moviegoers knowledge about actors and actresses considered as categories of semantic knowledge. For this purpose, participants generated either names of actors or names of actresses and, in a second phase of the experiment, judged their responses in terms of aesthetic preference and frequency of instantiation. Both categories exhibited a graded structure in terms of typicality but while frequency of instantiation was the strongest response determinant for actresses, aesthetic preference was the strongest response determinant for actors. Moviegoing frequency was positively related to the number of names produced for actors but not for actresses. Main conclusions suggest that actresses and actors are relevant semantic categories for moviegoers. Possible factors for differences between the two categories are also discussed.
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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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THE SEARCH FOR OBJECTIVE MEASURES OF AESTHETIC JUDGMENT: THE CASE OF MEMORY TRACES
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MARCOS NADAL, GISČLE MARTY, ENRIC MUNAR, 2006, 24:1, 95-106.
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Abstract:
Verbal responses have frequently been used to measure aesthetic experience. They usually take the form of semantic judgments regarding specific aspects or dimensions of certain stimuli. The use of this kind of technique has produced a great amount of knowledge, but its combination with objective procedures can increase the validity and reliability of measurement. In this study, we set out to assess whether memory traces can serve as an objective control element for subjective aesthetic judgments. We analyzed the relation between aesthetic judgment and recognition of High Art and Popular Art visual stimuli by participants with and without formal art education. Results show that participants tended to give higher pleasantness and beauty ratings to those stimuli that have left a strong memory trace. Lower scores were awarded to stimuli they did not recognize well. However, originality and interest ratings did not follow the same trend. This disparity is discussed in relation to the dimensionality of aesthetic experience and the influence of formal art education on subjective measures of aesthetic experience.
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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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THE MAGICAL NUMBER FIVE IN ART APPRECIATION
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ANNELIES VAN MEEL-JANSEN, 2006, 24:1, 107-118.
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Abstract:
To describe differences in art appreciation between children of different ages, between children and adults, and between adults with different educational backgrounds, five components of aesthetic judgment were defined. These were named: "Attraction," "Representation and realism," "Emotional expression," "Style and form," and "Interpretation." In a review of six studies with participants ranging from primary and secondary school children to various adult groups, it was investigated in which amount the five components characterized each group. For that purpose, explanations for art preferences in these studies were analyzed. The results indicate that individuals or groups can be characterized with respect to their art appreciation as showing a particular "profile" of the five aesthetic components. Also, it seems justified to distinguish one stage-like transition in aesthetic development, in early adolescence. This is seen as a transition from a chiefly semantic (content-related) to a mainly aesthetic (style-, emotion-, and interpretation-related) orientation.
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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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