| Home > Scholarly Contributions > Abstracts > Volume 6 Issue 1
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| Volume 6 Issue 1
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The experience of time, pleasure; and interest during aesthetic episodes.
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Gerald C. Cupchik & Robert Gebotys, 1988, 6:1, 1-12.
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Abstract:
This study examined time estimations as well as ratings of pleasure and interest for aesthetic episodes varying in duration. It was hypothesized that judgments of exposure duration would reflect the amount of perceptual/ cognitive effort needed to appreciate a painting. Effortful processing would lead to overestimation of duration, and automatic or overlearned analysis would produce underestimation. The experiment also examined changes in aesthetic pleasure and interest as a function of exposure duration and stylistic properties of the paintings. Sixteen trained and sixteen naive subjects, including equal numbers of males and females, viewed two sets of paintings varying in collative and stylistic properties for 18, 36 and 72 seconds. The Collative Set of twelve paintings represented two dimensions, Uncertainty and Arousal potential. The Stylistic Set of twelve paintings comprised two dimensions, Representational Abstract and Linear (hard edge) Painterly (soft edge). The results for judgment of duration supported the hypothesis. Trained subjects, who possess a repertoire of skills for appreciating paintings, generally underestimated exposure duration. Naive subjects, for whom art appreciation represents an effortful challenge, overestimated duration, especially for the complex paintings. In addition, naive males and females showed opposite monotonic changes in pleasure ratings for the Stylistic Set of paintings. These findings were interpreted in the context of a theory about sex differences in perceptual style.
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What is the lady really smiling about? Mona Lisa’s secret admirers.
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John Langerholc, 1988, 6:1, 13-33.
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Abstract:
The world's most famous work of art owes its subtle fascination, usually held to be inexplicable, to the subliminal embedding of a large number and variety of male faces in the Mona Lisa's clothes and hair as well as in the surrounding land and cloudscape. This is not an isolated instance of an unconscious or accidental process, but shows all the wit, craftsmanship and sophistication we have by other means come to expect of Leonardo da Vinci. Although all the great masters seem to have clearly recognized and imitated this trick, it seems to have completely escaped the notice of academic art criticism, which generally begins recognizing facial alternatives in Arcimboldi and then skips over the centuries to Picasso or Dali. The father of modern art was impressed by a painting full of embedded faces and, realizing the extent to which practically all visual art owes its "ineffable" fascination to this simple technique, evolved the notion of "abstract art" by the simple expedient of gradually eliminating the main Gestalt. Having the key to artistic success within their grasp, Freudians vastly underestimated the extent of its use as well as its relevance to the impact of an art work. Their insistence on interpreting it as an automatic manifestation from the secret recesses of the artist's unconscious mind prevented them from seeing it as a calculated toying with one of the beholder's principal higher order feature detectors, the specialist face processor.
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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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Aesthetics and the cultural whole: A study of Kono dance occasions.
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Kris L. Hardin, 1988, 6:1, 35-57.
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Abstract:
Aesthetic appreciation has often been investigated only in terms of what is defined as art in a Euro-American sense. This article examines a successful dance occasion among the Kono of Eastern Sierra Leone and suggests that appreciation can only be fully understood if analyses take account of the wider cultural framework within which a particular form is produced and used.
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1983 at discounted rates.
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An examination of preferences for subject matter in painting.
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Neil Kettlewell, 1988, 6:1, 59-65
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Abstract:
Two samples were used, college students and art museum attendees. Both groups were asked to rank order nine different areas of subject matter in painting in terms of personal preference. No visual examples of the suggested subject matter were provided, although brief descriptions were given when it was deemed necessary. Based on rankings, all samples and the male and female sub-samples of the student sample showed highly significant within and between groups differences. The findings are argued to be contrary to those expected by those holding a position of "relativism" with respect to art. The possibility of a dual system of aesthetics with respect to art judged for personal acquisition and abstract evaluation is discussed.
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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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The artist and androgyny: A study of gender identity in visual arts.
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Catherine T. Harris & Philip J. Perricorne, 1988, 6:1, 67-78.
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Abstract:
While art is an activity that is socially valued, the image of the artist as perceived by the public and expressed in the literature has rarely been studied empirically. The Adjective Check List is used to test one dimension of this issue - June Wayne's hypothesis that the artist is a stereotypical woman, focusing on the artist's view of himself/herself and artists in general. Data were gathered by means of a questionnaire mailed to 1753 artists who had been nominated for the national Awards in Visual Arts during the first five years of the program (1982-86). It was found that artists tend to have self-images which are androgynous in terms of sex stereotyping, while at the same time, they see artists in general as relatively masculine. It was also found that while artists tend to view their colleagues in favorable terms, they view themselves as individual artists significantly more favorably. The implications of these findings for the profession of art 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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Relationship of preference judgments to typicality, novelty, and mere exposure.
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Colin Martindale, Kathleen Moore, & Alan West, 1988, 6:1, 79-96.
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Abstract:
Two theories of aesthetic preference are reviewed. According to Berlyne's psychobiological theory, the main determinants of aesthetic preference are collative variables such as complexity and novelty, and preference is generally related to its determinants in an inverted U manner. Recent findings contrary to these predictions are briefly reviewed. According to Martindale's cognitive theory, the main determinant of aesthetic preference is prototypicality or meaningfulness, and preference is usually related to its determinants in a monotonic or U-shaped fashion. Three experiments concerning preference for semantic category exemplars are reported. Typicality accounted for eight or nine times more of explained variance in preference than did long-term novelty, short-term novelty, or mere exposure. Preference was related to both typicality and collative variables by monotonic or U-shaped functions.
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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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