| Home > Scholarly Contributions > Abstracts > Volume 4 Issue 2
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| Volume 4 Issue 2
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The relationships between creativity and cerebral hemisphericity for creative architects, scientists, and mathematicians.
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Albert N. Katz, 1986, 4:2, 97-108.
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Abstract:
The relationship between creativity and the specialized cognitive functions supported by each of the cerebral hemispheres (hemisphericity), was examined on archival data available for creative architects, scientists, and mathematicians. Hemisphericity was estimated by the A/P ratio, in which A represents performance on the Street Gestalt Completion test, a marker test of right hemispheric processes and P represents performance on a marker test of left hemispheric functioning, the Similarities subtest of the WAIS. Creativity was indexed by objective indices (such as the number of patents earned by each scientist), subjective measures (such as peer evaluations of creativity) and by psychometric instruments that purport to measure creativity. Performance on a test of general intelligence was also examined. The data indicates that hemisphericity is related to some indices of creative performance (especially the objective measures) but not to the index of general intelligence. Moreover, the direction of the relationships were different for the creative architects than for the creative scientists and mathematicians. These data were taken as support for the proposition that creativity depends on the cognitive functions supported by both hemispheres: different professions demand a specific cognitive mode for efficient performance; creative performance is reflected in those who can also access and are efficient in using the cognitive mode supported by the complementary cerebral hemisphere.
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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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On the visualization of some basic concepts.
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Anna Homberg, 1986, 4:2, 109-129.
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Abstract:
The author has studied how basic concepts such as "I ' "another person," "good," "bad," "passive," "active," "strong," and "weak" are represented visually. In the experiment, subjects were asked to draw these concepts in monochrome abstract shapes. The results were analyzed according to parameters regarding color, form and placing of the shape. A formal "Identikit" was thus deduced for each of the concepts and, further, some basic tools for the interpretation of non-mimetic shapes were given.
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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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Puppet theatre: Form and ideology in Bamana performances.
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Mary Jo Arnoldi, 1986, 4:2, 131-150.
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Abstract:
The Bamana living in the Segu region in central Mali carve a range of masks and puppets for specific performance contexts. These sculptures are related to and must be interpreted in light of the community's definition of the event for which they were created. This study examines a category of sculptures which are produced for youth puppet theatre. It compares these sculptures to a second category of magic which are produced for men's initiation associations and relates both categories to the definition of their respective performance events. It then analyzes the social identity of the actors in youth theatre and the ideology which organizes the import of the puppet theatre in the communities.
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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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Evidence of a tense shift in personal experience narratives.
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Alynn Day Harvey, 1986, 4:2, 151-162.
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Abstract:
"Danger of death" narrative were collected and analyzed for their use of the historical present tense. The historical present tense in those narratives serves as a signal which fingerprints their identity as "danger of death" narratives and, thus, has a potential application in artificial intelligence programs.
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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 criteria used to judge art: Marketplace and academic comparisons.
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Martin S. Lindauer & Doreen A. Long, 1986, 4:2, 163-174.
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Abstract:
The standards by which art is evaluated may be universal (agreed to by judges with different or no backgrounds in art) or relative (dependent on who is doing the judging). The issue of universalism/relativism was reviewed, along with the related issue of what criteria are used to judge art. Both scholarly and scientific resources were summarized. To test for the influence of different occupational roles on judgments about art, a survey was conducted among fourteen academics and seventeen business people in the arts. They rated, on mailed questionnaires, the importance of twenty criteria for judging art. Similarities between the two groups' ratings and among the criteria were the rule. Interviews supported these results The criteria, though, differed in the magnitude of their importance. The consistency with which aesthetic criteria were judged favored the universal position.
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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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Analyzing opera attendance: The relative impact of managerial vs. environmental variables.
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Susan L. Holak, William J. Havlena, & Pamela K. Kennedy, 1986, 4:2, 175-188.
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Abstract:
A forecasting model of opera attendance was used to assess the relative importance of two categories of predictor variables: performance attributes and environmental characteristic. Separate analyses for subscribers and nonsubscribers yielded insight into the differences between the two groups concerning the impact of repertory and scheduling on attendance. While subscribers were most heavily influenced by timing, nonsubscriber attendance was also influenced by the familiarity of the opera. The predictive validity of the model was evaluated using data from the most recent season performances.
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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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