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| Volume 25 Issue 2
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Editorial: Twenty-Five Years of Empirical Studies of the Arts
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Paul J. Locher, 2007, 25:2, 117 - 120
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Abstract:
This article does not have an abstract.
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1983 at discounted rates.
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Recent Trends in the Psychological Study of Aesthetics, Creativity, and the Arts
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Colin Martindale, 2007, 25:2, 121 - 141
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Abstract:
In order to explain what has happened in psychological aesthetics and the study of genius, a brief overview of the history of psychology since the nineteenth century is given. There has been a movement from grand theories and the beginnings of experimental aesthetics though behaviorism, which was a catastrophic era for the study of aesthetics, to a sort of renaissance marked by the emergence of cognitive psychology. Across the 25 years during which Empirical Studies of the Arts has been published there has been a consistent trend in psychological studies of aesthetics, creativity, and the arts. In the early years, studies were based upon a mélange of late behaviorist, early cognitive, and psychodynamic theories. This was followed by a period during which cognitive approaches were dominant. During the last decade there has been a very clear trend toward work based upon evolutionary psychology and neuroscience. Examples of some but far from all of the important work done during the last several decades are discussed.
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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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Is Bad Art The Opposite of Good Art? Positive Versus Negative Cinematic Assessments of 877 Feature Films
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Dean Keith Simonton, 2007, 25:2, 143 - 161
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Abstract:
Although some research suggests that negative judgments might be more complex and more potent than positive judgments, cinematic assessments may offer an instance of a genuine bipolar evaluative dimension. This is shown in an analysis of 877 feature films that received positive (Oscars) or negative (Razzie) recognition in the categories of best/worst picture, director, male and female lead, male and female supporting actor, screenplay, and original song (whether nomination or actual award). These assessments were compared with film critic evaluations, financial and box office data, and several relevant cinematic attributes (e.g., literary adaptations, writer-directors, biopics, sequels, remakes, film genres, runtime, and Motion Picture Association of America ratings). Analyses indicated that negative assessments were largely the inverse of positive assessments, with similar weights being assigned to most cinematic attributes. However, the negative judgments were somewhat less consequential regarding those same attributes.
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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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Validating the Creativity Scale for Diverse Domains Using Groups of Artists and Scientists
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David Rawlings and Ann Locarnini, 2007, 25:2, 163 - 172
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Abstract:
The Creativity Scale for Diverse Domains (CSDD) of Kaufman and Baer (2004), measures self-reported creativity in nine different domains, as well as "creativity in general." The study reports a criterion validation of the scale, using small groups of professional scientists and artists, in addition to two groups of undergraduate students planning major studies in the arts/humanities or in science/mathematics. Similar patterns of inter-correlation between items, and a similar factor structure, were found to those reported in the original study. In support of the validity of the scale, professional scientists were clearly highest on items measuring creativity in science and mathematics; professional artists on items measuring creativity in art and general creativity. There were minimal differences between the student groups. The results provide substantial support for the usefulness of the CSDD when a short measure of creativity in different areas is sought.
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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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Learning Through Ancient Art and Experiencing Emotions With Contemporary Art: Comparing Visits in Two Different Museums
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Stefano Mastandrea, Gabriella Bartoli, Giuseppe Bove, 2007, 25:2, 173 - 191
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Abstract:
The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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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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The Color of Music: Correspondence Through Emotion
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J. Michael Barbiere, Ana Vidal, Debra A. Zellner, 2007, 25:2, 193 - 208
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Abstract:
College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a "happy" or "sad" song. Each participant listened to two "happy" and two "sad" songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.
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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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The Colorimetric Barycenter of Paintings
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Valeriy Firstov, Victor Firstov, Alexander Voloshinov, Paul Locher , 2007, 25:2, 209 - 217
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Abstract:
The locations of the colorimetric barycenter or "center of gravity" of the pictorial fields of paintings were compared graphically with the geometric centers of the art works. The art stimuli consisted of reproductions of 1332 paintings of different compositional genres created by renowned Russian artists. It was observed that artists' manipulation of a color palette and their spatial control of color within a composition resulted in the location of the colorimetric barycenter of a painting corresponding closely to its geometric center for both representational and abstract paintings. This finding demonstrates the power of the center of a pictorial field to function as a balancing point about which artists exert spatial control of color among all of the compositional colors and the areas they occupy within a pictorial field.
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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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