| Home > Scholarly Contributions > Abstracts > Volume 27 Issue 1
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| Volume 27 Issue 1
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In Memory
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Paul Locher, 2009,27:1,i - ii
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Abstract:
no abstract
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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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Questioning the Rules of Continuity Editing: An Empirical Study
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Heiko Hecht and Hermann Kalkofen, 2009,27:1,1 - 23
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Abstract:
We investigated phenomenal continuity across mid-action cuts in motion pictures. When a change of perspective is used in the midst of a dynamic event, film directors tend to agree that a straight-match cut is not advisable if the impression of smooth continuity is desired. Such a cut would embody an instantaneous transition from one camera angle or position to the next. Some film theorists recommend that some overlap of the action is desirable, surmising that the visual system needs time to digest the cut and to reorient. Others disagree and prefer a gap. We report two experiments that provide an empirical test of competing continuity hypotheses. We systematically varied the temporal parameters of a dynamic scene that continued across a camera jump. Computer-animated sequences had to be adjusted until they looked maximally smooth and temporally correct. Observers very consistently preferred gaps (ellipses). Implications for film editing and film theory 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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Do People Prefer Curved Objects? Angularity, Expertise, and Aesthetic Preference
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Paul J. Silvia and Christopher M. Barona, 2009,27:1,25 - 42
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Abstract:
Do people prefer curved lines, shapes, and objects over angular lines, shapes, and objects? Angularity is one of the oldest variables in the psychology of aesthetics, but past research has not always controlled for potential confounds. Two experiments manipulated angularity while controlling for symmetry, prototypicality, and balance. Study 1 used arrays of circles and hexagons from the Preference for Balance Test. Study 2 used asymmetrical random polygons; each polygon was digitally rounded to create angular and curved versions. As predicted, people preferred the round circles more than the angular hexagons and the curved polygons more than the angular polygons. Both experiments explored whether individual differences in expertise in the arts moderated angularity's effect on preference. Multilevel models showed that training in the arts interacted with angularity, but the pattern of the interaction varied between the two experiments.
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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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Theory Confrontation: Testing the Categorical-Motivation Model
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T. W. Allan Whitfield, 2009,27:1,43 - 59
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Abstract:
Following the demise of Berlyne's model, experimental aesthetics has lacked a unifying theory. The field now is characterized by a set of proximate and overlapping theories. In the main they are evolutionary, process-driven, distinguish between wired-in predispositions and acquired preferences, and reject a simple stimulus-driven approach and formulaic laws (e.g., color harmony, the golden section). They recognize aesthetic appraisal as a staged process from stimulus onset to response, and incorporate emotion as fundamental. On the deficit side, they are unclear as to the staged process, the role of processing components (e.g., fluency, appraisal, categorization), and their interaction. This article focuses upon one such theory, and seeks to further articulate it. Importantly, it advances testable hypotheses that would support or undermine it. It is suggested that greater emphases upon refutation would benefit theory construction in this 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.
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Visual-Tactual Incongruities in Products as Sources of Surprise
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Geke D. S. Ludden, Hendrik N. J. Schifferstein, Paul Hekkert, 2009,27:1,61 - 87
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Abstract:
The perception of a product through vision creates expectations of what will be perceived through touch. However, the tactual information perceived may disconfirm the expectations formed, resulting in a surprise reaction. In two experiments, participants' reactions to products with visual-tactual incongruities were studied. Participants were 100 students enrolled in the Industrial Design Engineering department at the authors' university. Our main aim was to investigate differences in reactions to two groups of products ("Visible Novelty" and "Hidden Novelty") that are hypothesized to evoke two different surprise reactions. A group of control products without visual-tactual incongruities was also tested. Furthermore, different measures of surprise, such as self-reports of the intensity of the surprise, observational measures of exploratory behavior, vocal expressions, and facial expressions were explored. Clear differences were found in participants' reactions toward products in the control group versus products with visual-tactual incongruities. Reactions toward products in the two groups of surprising products differed only slightly.
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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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Judgments of Creativity as a Function of Visual Stimulus Variability
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Michael E. Young and Deborah Racey, 2009,27:1,89 - 107
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Abstract:
The production of variability in behavior has been linked to creativity (Campbell, 1960), so it seemed possible that manipulating stimulus variability would influence judgments of creativity. The present set of experiments examined people's judgments of the creativity of colored arrays of circles and squares and whether these judgments are a function of the variability of the arrays. Experiment 1 determined that people's judgment of the variability of 4 x 4 arrays of colored circles was a direct function of a new algorithm for generating array variability, and Experiment 2 revealed a strong relationship between this judged variability and the judged creativity of those same arrays. Experiment 3 extended this finding to a new type of array, and Experiment 4 replicated this finding using the explicit judgment of creativity on a Likert scale rather than the pairwise choice procedure of Experiments 1 through 3. The results are placed within the context of a preferred level of variability, the role of novelty, and the systematic study of the creative product.
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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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Opposing Art: Rejection as an Action Tendency of Hostile Aesthetic Emotions
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Jessica M. Cooper and Paul J. Silvia, 2009,27:1,109 - 126
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Abstract:
One of Berlyne's many intriguing ideas was that aesthetic feelings have implications for behavior, particularly actions associated with approach, avoidance, and exploration. Later models of aesthetic emotions, however, have not addressed the implications of aesthetic emotions for action. Using controversial contemporary photography, two experiments examined the behavioral implications of negative emotions. Feelings of anger and disgust predicted self-reported indicators of rejection (Experiment 1) and the probability of choosing to receive a controversial postcard as a gift (Experiment 2). These findings illustrate relationships between appraisal, emotions, and action tendencies, and they expand the evidence for the appraisal approach to aesthetic emotions.
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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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