| Home > Scholarly Contributions > Abstracts > Volume 28 Issue 1
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| Volume 28 Issue 1
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From the Editor
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Paul Locher, 2010,28:1,1 - 1
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Abstract:
This article does not have an abstract.
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The American Idol Effect: Are Students Good Judges of Their Creativity across Domains?
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James C. Kaufman, Michelle L. Evans, John Baer, 2010,28:1,3 - 17
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Abstract:
Students are often asked to judge their own creativity. There is some evidence that such judgments correlate modestly with other self-report data and some divergent thinking test measures. Only limited work, however, has been done comparing self-reported creativity with actual creative performance. Because levels of self-reported creativity might vary across domains—which would allow greater likelihood of accuracy of such reports—we examined self-reports of creativity in four domains and compared these with expert ratings of subjects' work in those domains (as judged using the Consensual Assessment Technique). Subjects were 78 fourth-grade students. The students did not predict uniform levels of creativity for themselves across domains (all self-assessments correlated across domains less than. 30). However, these predictions did not match expert ratings of the students' creative products in each domain. These results challenge the validity of self-assessments of creativity among students of this age, even when the students are given the opportunity to give themselves different creativity ratings in different domains.
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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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To Make the Familiar Strange—Aesthetic Derealization in the Work of Alberto Giacometti
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Oren Kalus, 2010,28:1,19 - 35
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Abstract:
Derealization, the phenomenon in which things appear strange and unfamiliar, is usually understood as pathological or, at best defensive. I present evidence for an "aesthetic" form of derealization as observed and described by the artist Alberto Giacometti and propose that it served a critically productive role in his creative process. Not only did Giacometti experience derealization's core estrangement, altered body images, obsessional skepticism, and prolonged observation, but these typically pathological features combined synergistically into a method of visual inquiry for him. A process that entailed the "deconstruction" of habitual and routine perceptions associated with day-to-day reality. This suggests that seeing things as unfamiliar, unknown, or even as meaningless may confer an advantage on the artist, both loosening the constraints of pre-conceptions and supporting alternative, fresh perceptions. Aesthetic derealization might also share with its clinical counterpart a common dissociative mechanism that separates perception from cognition or seeing from knowing. Whereas clinical derealization is crude and disorienting, the aesthetic variant is flexible and enlightening. Giacometti and perhaps other artists might employ an intriguing mix of sophistication and naïveté in seeing things strangely.
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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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On the Formation of Canons: The Dynamics of Narratives in Art History
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Victor Ginsburgh and Sheila Weyers, 2010,28:1,37 - 72
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Abstract:
The article illustrates the formation over time of the late 20th century canons of two schools that dominated all other European schools in their time: Italian Renaissance and Flemish Realism. Since most artists were discussed some 400 years ago, by Vasari in the second edition of his Vite and by van Mander in his Schilder-boeck, narratives by art historians can be followed over a long period of time. To explore the dynamic process of canon formation, we collected data on the presence and the greatness of a large number of artists in narrative works written by important art scholars at time intervals of roughly 75 years, so that the 400 years elapsed between 1600 and 2000 are spanned as best as possible. At least half of the artists in the two canons were already there 400 years ago. There are several cases of wrong attributions or of new technical discoveries that prevented some names to be canonical any sooner. There are also artists who art historians learned to appreciate or to understand better, and who entered at much later times. Finally, the number of names that entered or were moved up in the canon because their works acquired new properties in the light of works by artists that followed them is not very large. This appears to be in contradiction with the frequent suggestion that canons are continuously moving and that no artist can survive forever.
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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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How Important is Beauty to You? The Development of the Desire for Aesthetics Scale
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Duane E. Lundy, Miranda B. Schenkel, Talayna N. Akrie, April M. Walker , 2010,28:1,73 - 92
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Abstract:
We comprehensively measured individual differences in aesthetic interest by developing The Desire for Aesthetics Scale (DFAS). In Study 1, a 40-item scale was given to 71 undergraduates. Based on item-total correlations, the worst items were revised or dropped, and new items were created. In Study 2, a 43-item scale was tested with 99 undergraduates from two colleges, and was given to one group 3 months later, demonstrating adequate test-retest reliability scores (r = .74). In Study 3, a revised 42-item scale was given to 62 older, non-students. For the combined relevant samples from Study 2 and Study 3 (N = 110), the final 36-item DFAS yielded good internal consistency (alpha = .82, p < .001 compared to a test value of .70; 95% confidence interval: (0.764, 0.865)). Overall, in multiple samples, this scale resulted in reliable measurements of individual differences in motivation to seek out and care about a wide range of aesthetic 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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Camera Obscura's Role in Johannes Vermeer's Painting Space
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Noriko Sato, 2010,28:1,93 - 110
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Abstract:
This article considers the hypothesis that the 17th century Dutch painter Johannes Vermeer utilized a camera obscura as an auxiliary tool in creating his paintings. I created analytic diagrams and plan views of 13 genre pieces in which he depicted perspective accurately, and compared them with reference to the dimensions of tiles depicted in those images. As a result, I determined that the depicted scenes can be cropped within the region of an image circle of the same size. The conclusion is that an image projected by a camera obscura is an excellent resource from the point of view of depicting perspective consistency within a painting space on canvas, and that by utilizing that resource, Vermeer explored spatial representations that had not been seen up until his time.
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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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Contextual Information, Artistic Style and the Perception of Art
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Kenneth S. Bordens, 2010,28:1,111 - 130
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Abstract:
An experiment was conducted to determine if providing contextual information about various artistic styles would increase liking and lead to more positive perceptions of examples of art. Participants were 172 male and female artistically naive undergraduate students. Participants evaluated four artworks from one of four styles (Dada, Outsider, Impressionism, and Renaissance) on several rating scales. Results showed that when no contextual information was presented perceived match between an artwork and an internal concept of art was higher than if contextual information was presented and that Dada art received the lowest match scores followed by Outsider, Impressionist, and Renaissance art. Dada art was liked significantly less than Outsider, Impressionist, or Renaissance art. Factor analysis of bipolar semantic differential scales revealed four dimensions underlying perception of art and that different styles could be separated based on these dimensions.
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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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