| Home > Scholarly Contributions > Abstracts > Volume 25 Issue 1
|
|
| Volume 25 Issue 1
|
An Introduction to Multilevel Modeling for Research on the Psychology of Art and Creativity
|
Paul J. Silvia, 2007, 25:1, 1 - 20
|
|
Abstract:
This article introduces some applications of multilevel modeling for research on art and creativity. Researchers often collect nested, hierarchical data—such as multiple assessments per person—but they typically ignore the nested data structure by averaging across a level of data. Multilevel modeling, also known as hierarchical linear modeling and random coefficient modeling, nables researchers to test old hypotheses more powerfully and to ask new research questions. After describing the logic of multilevel analysis, the article illustrates three practical uses of multilevel modeling: (1) estimating within-person relationships, (2) examining between-person differences in within-person processes, and (3) comparing people's judgments to a criterion. The breadth, flexibility, and power of multilevel modeling make it a useful analytic tool for the multilevel data that researchers have been collecting all along.
|
|
|
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!
|
Aesthetic Communication Through Posters
|
Ed S. Tan and Anja Tollenaar, 2007, 25:1, 21 - 39
|
|
Abstract:
Posters for cultural products such as theater performances aim at communicating aesthetic features of the product by their own aesthetic features. Successful communication entails a correct decoding of the aesthetic attributes of performances by poster viewers. An aesthetic communication effect was investigated in two studies, in which three attributes were rated, namely complexity, unconventionality and quality, of 37 posters and related performances. Three expectations were put to test, using multilevel modelling. First, poster judgments should correspond to an external criterion, that is, performance judgments obtained in an earlier study. Both studies showed associations between criterion judgments of complexity and unconventionality, but not of quality. Second, performance ratings produced immediately after the rating of posters should correspond to poster ratings. Results of Study 2 were entirely in line with the expectation, whereas Study 1 supported it for complexity and unconventionality but not for quality. Third, theater expertise of raters should enhance the two correspondences just mentioned. Study 2 only tested the expectation, and it failed to produce expertise differences. Some explorations of the determinants of poster quality were carried out. Taken together, the studies provide some evidence for successful communication of some "collative" properties of theater posters, but further research is needed to shed light on the communication of quality. In further research aesthetic communication may be understood as an only partially intentional form of emotional communication.
|
|
|
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!
|
Another Slant on the Oblique Effect in Drawings and Paintings
|
R. J. Miller, 2007, 25:1, 41 - 61
|
|
Abstract:
Latto and Russell-Duff (2002) showed that artists used more horizontal and vertical than oblique lines in museum paintings, concluding that this preference was a reflection of the traditional (presumably neurogically mediated) "oblique effect." Alternative explanations, however, could be that oblique orientations have a unique status as a result of artistic training and tradition, and/or that a quadrilateral frame may induce such preferences, and/or that most of the paintings were representational, and the real world is more horizontal and vertical than oblique. Sixty-three undergraduates drew two pictures, one representational and the other abstract, on circular sheets of paper. Fewer oblique than horizontal or vertical lines were used in representational drawings. However, for abstract pictures there was no difference among the three orientations. Similar results occurred for line length. The average extent to which line angles departed from oblique was significantly less for abstract than representational pictures. It was concluded that the "oblique effect" reported by Latto and Russell-Duff could have been at least in part a reflection of the subject matter of the paintings rather than an inherent preference for horizontal and vertical orientations.
|
|
|
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!
|
Successive Contrast Effects for Judgments of Abstraction in Artwork Following Minimal Pre-Exposure
|
Steven M. Specht, 2007, 25:1, 71 - 95
|
|
Abstract:
A total of 69 male and female college students were recruited to participate in this study to investigate successive contrast effects in perception of "abstraction" in artwork. Artworks rated as "high," "medium," and "low" in abstraction were established based upon results of a pilot study. Participants were randomly assigned to one of three contrast groups (i.e., "high-medium," "medium-medium," and "low-medium") and subsequently rated the same target artwork as being less "abstract" and less "complex" when it was preceded by a single "high" abstract painting than when it was preceded by a single "low" abstract painting. The target artwork was also rated as more "passive" when it was preceded by the "high" abstract painting than when it was preceded by the "medium" abstract painting. These findings are consistent with and extend previous research that has examined contrast effects in aesthetic judgments of artwork.
|
|
|
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!
|
Positioning Bias in Portraits and Self-Portraits: Do Female Artists Make Different Choices?
|
Caterina Suitner and Anne Maass, 2007, 25:1, 71 - 95
|
|
Abstract:
Three studies analyzed spatial orientation of portraits (Study 1, N = 359 and Study 2, N = 961) and self-portraits (Study 3, N = 362). Besides replicating a number of previous findings (a general left-ward orientation in portraits but right-ward orientation in self-portraits), we report a number of new results: (1) compared to men, women painters show no gender bias in portraits, and show no rightward orientation in self-portraits; (2) gender differences decline over time and disappear entirely after the 1848 social movements in Europe; and, (3) old and young sitters are portrayed with a stronger leftward orientation than sitters of the intermediate age group (supported only in Study 1). Results are interpreted as supporting Chatterjee's (2002) agency hypothesis.
|
|
|
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!
|
The Reader at Work: The Role of the Text and Text-Receiver in the Construction of the Protagonist of a Novel
|
Alessio Nencini, 2007, 25:1, 97 - 115
|
|
Abstract:
The study investigates the influence of self-concepts on the interpretation of literary texts. Following the reader's response approach (László, 1999), the fruition of a narrative can be described as a process in which the reader re-constructs the "reality" represented by the author through his/her self schemas. An Italian novel, "Sostiene Pereira" by Antonio Tabucchi, was chosen to explore the potentiality of this perspective. This novel is a short tale completely centred on the vicissitudes of the main character. First a text analysis was conducted to explore the structure of Pereira's self, revealing ten dimensions. Based on these categories, a questionnaire was constructed and administered to participants to assess their self-concepts. After reading the whole book the participants evaluated the protagonist's self on the same dimensions. Results support the expectations that Pereira's self profile nearly overlaps that of each reader, showing a shared representation of the character colored by slight individual differences.
|
|
|
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!
|
 back to abstracts
|
Home
Scholarly
Abstracts
Proceedings