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| Volume 28 Issue 2
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Introduction to the Special Issue
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Kenneth S. Bordens and Lenore E. Defonso, 2010,28:2,131 - 133
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Abstract:
This article does not have an abstract.
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An Uncommon Resonance: The Influence of Loss on Expressive Reading
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Shelley Sikora, Don Kuiken, David S. Miall, 2010,28:2,135 - 153
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Abstract:
A study of advanced level English students who read Coleridge's The Rime of the Ancient Mariner indicated that, after a lapse of 2 or more years, impactful loss (e.g., loss due to death) facilitated a mode of reading called expressive enactment. In this mode of reading: (a) stylistic features give narrative objects, characters, and places a sensuous and engaging presence; (b) mutations of the sensuously present "other" occur across striking or evocative reading moments; and (c) the reader becomes metaphorically identified with these transformations in ways that deepen self-perception. The moderating effects of vivid reminiscences on the relationship between loss and expressive enactment suggest that, just as the bereaved gradually become accepting of and perhaps drawn toward occasions that evoke poignant but ephemeral memories of the deceased, so, too, do they become accepting of and perhaps drawn toward the intense interplay between presence and absence that occurs during literary reading.
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Investigation on Piero della Francesca's Frescoes
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Paolo Bonaiuto, Anna Maria Giannini, Valeria Biasi, 2010,28:2,155 - 171
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Abstract:
This investigation focuses on the Legend of the True Cross, Piero della Francesca's important series of frescoes (15th century) kept in Arezzo (Italy). We dealt with the expressiveness of the figures according to shapes, colors, and other features. We referred to the phenomenological classification by Arnheim (1949), Metzger (1954, 1966), and Bonaiuto (1965, 1988), who, among expressive qualities and valences, distinguished emotional hues, intentions, functions, causal relations, etc. Ninety adults evaluated affective expressiveness in each of three actual frescoes using an inventory with 46 11-point monopolar scales. Three distinct groups of scales were statistically distinguished: "positive," "negative," and "neutral" affects. The peculiarities of each fresco as measured by the scales emerged clearly, underlying the modern legibility of the expressiveness constructed by the artist. Comparisons of the pictorial style of Piero della Francesca with previous and later Renaissance artists and modern artists are described.
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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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Visual Complexity and Beauty Appreciation: Explaining the Divergence of Results
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Marcos Nadal, Enric Munar, Gisèle Marty, Camilo José Cela-conde, 2010,28:2,173 - 191
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Abstract:
Although a number of studies have verified Daniel Berlyne's (1971) predicted maximum preference for intermediately complex stimuli, others have found that preference increased or decreased in relation to complexity. The objective of the present work was to assess whether differences in the kinds of stimuli used in prior studies or in the way complexity was defined could explain this divergence. In the first phase a set of 120 stimuli varying in complexity, abstraction, and artistry was assembled. In the second phase 94 participants were asked to rate the beauty of the stimuli. In the final phase the same participants rated 60 of the stimuli on seven complexity dimensions. We failed to detect any meaningful influence of complexity on beauty ratings for any of the kinds of stimuli. However, our results suggest that there are three different forms of complexity that contribute to people's perception of visual complexity: one related with the amount and variety of elements, another related with the way those elements are organized, and asymmetry. We suggest that each of these types of complexity influences beauty ratings in different ways, and that the unresolved relation between complexity and beauty appreciation is mainly due to differences in the conception, manipulation, and measurement of visual complexity.
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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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Artists' Statements Can Influence Perceptions of Artwork
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Steven M. Specht, 2010,28:2,193 - 206
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Abstract:
A total of 98 undergraduates participated in two experiments designed to investigate the effects of providing different artist's statements on ratings of representational and non-objective artworks. Results from Experiment 1 indicated that reading an artist's statement appeared to increase viewers' ratings of the representational but not the non-objective artwork in terms of how much they liked and were interested in the artwork. In Experiment 2, similar effects were seen when the artist's statement that initially accompanied the representational work was switched so that it accompanied the non-objective artwork. Taken together, these findings indicate that the effects of an artist's statement appear to be related to certain salient features of an artist's statement and to be independent of the nature of the artwork.
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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
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1983 at discounted rates.
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The Assessment of Art Attributes
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Anjan Chatterjee, Page Widick, Rebecca Sternschein, William B. Smith, Bianca Bromberger , 2010,28:2,207 - 222
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Abstract:
Neuropsychological investigations of art production and perception have the potential to offer critical insight into the biology of visual aesthetics. Thus far, however, investigations of art production in patients have been limited to anecdotal observations and investigations of art perception are non-existent. Progress in the field is hampered by the lack of an adequate instrument to provide basic quantification of artwork attributes. Motivated by the need to move neuropsychology of art beyond the fascinating anecdote, we present the Assessment of Art Attributes (AAA). The AAA is an instrument designed to assess six formal-perceptual and six conceptual-representational attributes using 24 paintings from the Western canon. Both artistically naïve and experienced participants were given the AAA. We found high degrees of agreement in the assessment of these attributes in both groups and few differences between the groups. We expect that the AAA's componential and quantitative approach will be useful in advancing neuropsychological studies as well as any investigations in which style and content of art works need to be quantified and compared.
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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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The Reputation of Baroque Composers 1790-2000
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Cédric Ceulemans, 2010,28:2,223 - 242
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Abstract:
We analyze the reputation of baroque composers over time. The dataset makes it possible to describe the evolution of composers' reputation and of the baroque canon. The entries in seven important musical dictionaries written between 1790 and 2000 are used to measure reputations. We provide evidence that a consensus exists between musicologists, who often rely on their predecessors' work. We also show that nationality plays a role in the judgment of musicologists. Even recent dictionaries of music seem to be biased by their nationality. These results are supported by a panel data model and by statistical tests.
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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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A Test of Consensus in Aesthetic Evaluation among Professional Critics of Modern Music
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Duane E. Lundy, 2010,28:2,243 - 258
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Abstract:
To evaluate the approximate level of aesthetic consensus among a large sample of professionals, modern music critics were sampled from known music rating books that rated comparable genres of music, including the ratings of 352 critics and 5161 albums of randomly chosen musicians. All critic pairs who had rated at least 30 albums in common were analyzed (N = 139 pairs). Overall, 87.0% of critic pairs showed significant positive correlations in their album ratings, and another 2.9% showed marginally significant positive correlations (average r = .49). Not a single significant negative correlation occurred, and nonsignificant correlations occurred in only 10.1% of the critic pairs. Overall, reasonable aesthetic consensus appears to exist among most modern music critics, even without specific, agreed-upon rating scales, methods or assumptions, and despite preliminary evidence that not all professional critics are equally good at what they do. The superiority of correlation measures over agreement measures of aesthetic consensus is also 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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Index—Contents of Volume 28, 2010
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, 2010,28:2,259 - 260
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Abstract:
This article does not have an abstract.
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Buy the whole article at baywood.com - online shop now.
To let you know:
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1983 at discounted rates.
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