| Home > Scholarly Contributions > Abstracts > Volume 26 Issue 1
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| Volume 26 Issue 1
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Introduction
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Hana Gottesdiener and Jean-Christophe Vilatte, 2008, 26:1, 1 - 4
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Abstract:
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Creativity and E-Advertising: A Qualitative Study of Art Directors' Creative Processes
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Marie-Pierre Fourquet-Courbet, Didier Courbet, Marc Vanhuele, 2008, 26:1, 5 - 13
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Abstract:
An interpretive analysis of qualitative interviews with 33 creators of advertising banners for the Internet, combined with retrospective protocols on the creation process, reveals that they hold implicit theories about the potential impact of their work on different audiences. These audiences intervene in the form of intraindividual imaginary dialogue partners who, throughout the creative process, give their reactions to the message being created. Creation and evaluation are therefore intertwined and not, as the literature on creativity has suggested, two sequential steps of the creative process.
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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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Evaluation in Music Theater: Empirical Results on Content and Structure of the Audience's Quality Judgment
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Sabine Boerner, Hans Neuhoff, Sabine Renz, Volker Moser, 2008, 26:1, 15 - 35
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Abstract:
This article investigated audience judgment of performance quality in opera. On the basis of Boerner's (2004) componential framework of performance quality in opera, a first version of the "questionnaire for the perception of performance quality in music theater" was developed. This questionnaire was validated in two pilot studies with 70 and 39 graduate students in Studies 1 and 2, respectively. In Study 3, the content and the structure of spectators' judgments of performance quality in opera were examined in a field study by interviewing 145 visitors to the opera La forza del destino (Verdi) in Cologne Opera House. Conclusions for further research on reception of opera performance are drawn
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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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Relationship of Personal Cognitive Schemas to the Labeling of a Profound Emotional Experience as Religious-Mystical or Aesthetic
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Ken Stange and Shelley Taylor, 2008, 26:1, 37 - 49
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Abstract:
Subjective experiences of profound religious-mystical and aesthetic experiences share common characteristics, suggesting that apparent differences between them may reflect a person's individual cognitive schema. Six characteristics common to descriptions of religious-mystical and aesthetic experiences were distinguished. A questionnaire was designed to determine the following: 1) the extent to which participants were religiously oriented, and engaged with art; 2) if participants had experienced a profound religious-mystical and a profound aesthetic experience, and 3) had experienced events with six characteristics common to descriptions of profound aesthetic and religious-mystical experiences. Of 487 respondents, 391 met the criteria for having had a profound experience. A significant relationship was found between individuals' personal cognitive schema (religious or artistic) and their labeling of similar profound experiences.
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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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Gombrich, Galenson, and Beyond: Integrating Case Study and Typological Frameworks in the Study of Creative Individuals
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Aaron Kozbelt, 2008, 26:1, 51 - 68
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Abstract:
Art historian E. H. Gombrich raised challenging questions about creativity that remain neglected in contemporary psychological research. Emphasizing continuity with tradition, expertise, evaluation, and learning, Gombrich's foci exemplify a particular kind of creator, dubbed "seekers" by Galenson (2001, 2005). Gombrich's place in Galenson's typology and his own views on categories of creators motivate an overview of existing creative typologies. While in principle such typologies have great promise for bridging nomothetic and ideographic approaches to creativity, they have important limitations, like predominantly uni-dimensional structures and limited reliability and validity. Following Gombrich's (1960) principle of "ping and pong," I argue that a further proliferation of such typologies would be counterproductive; a more informative strategy is to integrate them at the level of their components, rather than reconciling broad category labels.
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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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On the Visual Cues Contributing to Pictorial Depth Perception
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Norman D. Cook, Asami Yutsudo, Naoki Fujimoto, Mayu Murata, 2008, 26:1, 69 - 92
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Abstract:
From study of the depth inversion in the "reverse perspective" illusion, we found that the depiction of at least three objects consistent with linear perspective is essential for inducing the false motion effects. In experiments on the perception of 3D depth in 2D images, we have confirmed that the presence of three independent pictorial cues is crucial for the illusion of depth, in general. On the basis of these findings, we argue that the characteristically human ability to perceive depth in flat visual stimuli using pictorial cues is an example of "triadic cognition"---i.e., cognition that relies on the perception of the relationships among a minimum of three distinct cues. Findings are discussed in terms of how pictorial cues influence our perception of 3D depth in 2D paintings and drawings.
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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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Erotic, Pornographic, or Obscene: Factors Influencing the Perception of Photographs of the Nude
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Joseph J. McDowall, 2008, 26:1, 93 - 115
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Abstract:
Considerable attention has been directed in the literature to exploring the pornographic or obscene nature of images depicting sexual content, however relatively few studies have attempted to investigate possible desirable aspects of such material by discriminating between these concepts and the erotic. This study required 37 female and 22 male visual arts students to complete two measures of their visual aesthetic response and their sexual interest and orientation before applying a semantic differential to reveal differences in individuals' understanding of the concepts erotic, pornographic, and obscene. They then rated 150 color and monochrome photographs depicting single and multiple female and male nudes in terms of how erotic, pornographic, or obscene they were perceived to be, and how much liking and pleasingness they elicited in the viewers. Erotic as a concept clearly was differentiated from the others by association with positive descriptors (e.g., dynamic, strong, emotional, relevant, tasteful, good), with pornographic characterised as more superficial (e.g., transparent, repetitive, physical) and obscene being the most unusual and disturbing. Participants gave more variable responses in their erotic ratings of images compared with pornographic and obscene. Significant sex-of-viewer differences were observed. Females found most content erotic except explicit images of two males that were rated most obscene; males rated images containing only males of little erotic interest. In future research, more consideration needs to be given to image content before it can be deemed pornographic and its likely effects on the viewer assumed.
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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 Structure of Artistic and Aesthetic Abilities in School Children
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Jeffrey K. Smith and Lisa F. Smith, 2008, 26:1, 117 - 130
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Abstract:
The structure of children's responses to art and efforts in making art were examined on a random sample of New Zealand schoolchildren, ages 8--9 and 12--13. Participants completed a set of 6 performance assessment tasks in aesthetic perception and artistic production. Factor analysis and multivariate analysis of variance were used to investigate the underlying structure among the tasks, and to look at the relationships among the factors of aesthetic perception and artistic production, with age, gender, and socio-economic status. Results indicated that a 2 factor solution was robust over age and gender combinations. Also, gender, age, and socio-economic status were all related to both production and perception factors.
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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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