| Home > Scholarly Contributions > Abstracts > Volume 26 Issue 2
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| Volume 26 Issue 2
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Studying Master Paintings to Promote Painting Skills: The Role of Visualization, Copying from Memory, and Spatial Ability
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Roxana Moreno and Marilen Morales, 2008, 26:2, 131 - 154
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Abstract:
Middle-school students with low prior-knowledge in art studied a set of masterpiece paintings by visualizing a reproduction of the artwork (visual group), by being given a description of the artwork (verbal group), or both (dual group). Within each group, some students recreated the artwork from memory whereas others created a painting of their choice. The dual group outperformed the visual group on a retention test and recreated more elaborated visual elements from the masterpieces than the verbal and visual groups. Spatial ability predicted students' ability to recreate the masterpieces. The results support a two-stage information processing model of visual perception and cognition and suggest that verbal information can act as a substitute for prior knowledge in guiding students' processing of complex visual information.
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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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Is Facial Beauty an Innate Response to the Leonardian Proportion?
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Sam S. Rakover, 2008, 26:2, 155 - 179
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Abstract:
The present study examines whether the facial proportion forehead length equals nose length equals lower face length (the "1/3-proportion"), which is considered a standard of facial beauty, arouses an innate aesthetic pattern of response. Profile deviations from the profile of Leonardo's famous drawing of Isabella D'Este as well as from other female profiles, which are based on the 1/3-proportion, were generated by increasing or decreasing the nose length. Profile evaluations as beautiful and as sexually appealing showed an inverted U-shaped function of the profile deviations when the profiles were presented upright; however these measures were flattened when the profiles were presented inverted. By contrast, profiles evaluated as interesting exhibited similar flattened curves in the upright and the inverted conditions. Furthermore, evaluations of non-facial stimuli (rectangles) did not behave similarly to evaluations of profiles. These results were interpreted as supporting the Aesthetical Construction theory, which suggests that the evaluations of these profiles are based on a response pattern constructed from innate and learned components.
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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 Genius Portfolio: How Do Poets Earn Their Creative Reputations from Multiple Products?
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Scott Barry Kaufman, Elise M. Christopher, James C. Kaufman, 2008, 26:2, 181 - 196
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Abstract:
How is creativity assessed across multiple products? What parameters influence the audience's overall impression of an artist's total body of creative work? This study examines this question in the domain of poetry, as poetry "gatekeepers" rated a series of five poems (all written by the same poet). The central question was what factors impacted the overall ratings of these poems; specifically, the following components were evaluated: average performance (i.e., typical work), maximum performance (i.e., best work), minimum performance (i.e., worst work), variability of performance (i.e., consistency), first performance, and last performance. The average, best, worst, and last poem in each set positively predicted the overall quality of the set. Variability (e.g., the standard deviation) did not make a significant prediction, suggesting that a body of artistic work may not be judged by the consistency of the set. These results suggest an overall stronger effect for ratings of individual items than for consistency when judging a set of creative works. Implications for aesthetic judgment 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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The Perception and Evaluation of Visual Art
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Henrik Hagtvedt, Reidar Hagtvedt, Vanessa M. Patrick, 2008, 26:2, 197 - 218
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Abstract:
Visual art is a complex stimulus. Drawing on extant theory that the interplay of affect and cognition evoked by a stimulus drives evaluations, we develop a generalizable model for the perception and evaluation of visual art. In three stages, we develop scaled measurements for the affective and cognitive components involved in the perception of visual art and present a structural equation model that integrates these components in art evaluation.
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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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The Concept of Scale in Architecture—Three Empirical Studies
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Ralf Weber and Silke Vosskoetter, 2008, 26:2, 219 - 246
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Abstract:
Several studies at the Institute for Spatial Design at Dresden University have aimed at a clarification of commonly used notions of scale in architecture and urban design. This article describes three such studies. University students of architecture and those studying other fields were shown images of facades of buildings in isolation from their surrounding contexts, as stimuli. In the first experiment, participants estimated the heights of the buildings; in the second experiment the buildings were ranked according to estimated heights, and in the third experiment images of buildings used in the second experiment were variously manipulated and participants had to rank the sizes of the buildings comparatively (in "pair wise comparison"). The results suggested that estimated (as compared to actual) sizes of buildings shown in isolation from their contexts depend particularly on the geometric features of their facades, such as their horizontal divisions and/or degree of further subdivision, or on their use of individual elements, for example, windows, doors or steps, whose assumed sizes are familiar from everyday 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.
See more benefits!
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