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| Volume 9 Issue 1
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Processing of aesthetic information.
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Predrag Ognjenovic, 1991, 9:1, 1-9.
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Abstract:
In a preference choice task subjects were tachistoscopically presented with aesthetic stimuli of equivalent meaning (i.e., semantics) which were modified in three different ways: (H) harmony, symmetry, (R) redundance, decoration, and (D) distant, original piece of art. In this research, a standard procedure used in experimental cognitive psychology was applied, i.e., variation of exposure duration which provided variation of depth of processing. At the shortest exposure duration subjects preferred the (H) type of stimuli. Increase of exposure duration to 500 ms shifted preference to (R) type of stimuli, while a further increase of an additional 500 ms favoured (D) type of stimuli. A model of aesthetic decision making including three consecutive stages with different operative characteristics is proposed.
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Comparisons between museum and mass-produced art.
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Martin S. Lindauer, 1991, 9:1, 11-22.
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Abstract:
Mass-produced art is a popular and inexpensive form of art which imitates museum art of the realistic sort, e.g., landscapes. Previous research has indicated that this art is positively evaluated. As a follow-up, six studies compared mass-produced and museum art. In four studies, preferences for the two kinds of art were compared. In two studies, recognition of the two kinds of art was tested. Either sixteen or twenty-eight examples of both examples of art were shown either singly or in matched pairs, as slides or as photos, and subjects were either informed or not about the kinds of art they were seeing. Subjects (177), of different ages, education, and art backgrounds, were tested in various locations. The results indicated both mass-produced and museum art were liked about equally, and the difference between the two kinds of art was not recognized. These and other results were discussed in terms of the relationship between popular and fine art.
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1983 at discounted rates.
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Cultural and text variables in processing personal experiences while reading literature.
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János László & Steen F. Larsen, 1991, 9:1, 23-34.
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Abstract:
The present study investigated the influence of reader and text variables on personal resonance while reading literature. As the reader variable, the distance between readers' cultural background and the thematic content of the text was studied. A Hungarian short story dealing with themes that are central to the cultural and historical past of that country was presented to Hungarian (culturally proximate) and Danish (culturally distant) readers . As the text style variable narrative point of view (POV) was manipulated by changing some inside pov passages to outside POV. The findings indicate that cultural proximity did result in the generation of a larger proportion of personally experienced, contextually rich, and vividly remembered events. The occasional use of inside, psychological POV in the story enhanced this effect in the Hungarian (culturally proximate) group, but not in the Danish group. However, the phenomenal quality of remindings elicited locally by reading the inside POV text passages differed from those of the same passages written from the outside POV, irrespective of readers' cultural background. This suggests that compositional text devices, as narrative POV, may have universal effects on literary reading.
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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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Measurement of cognitive structure in the domain of art history.
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Susan Tull Beyerlein, Michael Martin Beyerlein, & Robert P. Markley, 1991, 9:1, 35-50.
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Abstract:
This research represents the first known application of protocol analysis to a liberal arts knowledge domain. The purpose of this study was to capture differences in cognitive structure between experts and novices in the area of art history. A sorting task consisting of twenty-five reproductions of paintings and prints covering the 14th through the 20th centuries was used to elicit verbal protocol data from a sample of four experts and four novices. The protocols were then transcribed and scored using concept mapping and content analysis procedures. Three knowledge breadth measures, concept map propositions, concept map examples, and implicit propositions, were strongly correlated with membership in the expert or novice group. In addition, the knowledge depth measure, concept map hierarchy level, was also strongly correlated with the group membership variable suggesting that, as predicted, experts produced a significantly greater number of concept map propositions, examples, hierarchy level, and implicit propositions than novices. Subsequently, three discriminant analyses related to the three hypotheses of the study correctly classified 100 percent, 87.5 percent, and 100 percent of the grouped cases, respectively. Univariate F tests were statistically significant in all three analyses suggesting that the knowledge structures of experts evidence greater breadth and depth than those of novices and are related to particular elements of experience.
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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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Spatial abilities and reading deficits in visual art students.
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Ellen Winner, M. Beth Casey, Dan Dasilva, & Ron Hayes, 1991, 9:1, 51-63.
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Abstract:
This study investigated the hypothesis that artists are characterized both by strengths in spatial visualization and problems in reading. In addition, we investigated whether such a profile is most likely to describe nonright-handed artists. A test of spatial visualization ability and a self-report questionnaire assessing reading problems were administered to students rnajoring in the visual arts. Art students were compared to those rnajoring in other spatial fields (mathematics and science) and to those majoring in verbal fields that do not call for spatial skill (humanities and social sciences). While both art and mathematics/science students excelled in spatial visualization relative to those in verbal fields, the mathematics/ science students outperformed the art students. Nonright-handers did not differ from right-handers in spatial ability. However, it was the nonright-handers among the artists who were most likely to report reading difficulties. Results suggest that individuals choose spatial fields because they possess the relevant spatial visualization abilities; however, nonright-handed individuals with reading difficulties may also go into art in part by default, to avoid fields which require extensive reading and writing.
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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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Against prototypicality as a central concept in aesthetics.
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Frans Boselie, 1991, 9:1, 65-73.
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Abstract:
According to Martindale 's cognitive theory, the main determinant of aesthetic preference is prototypicality, and preference is usually related to its determinant in a monotonic or U-shaped fashion. Such a relation between aesthetic preference and prototypicality has been proposed before by other investigators. Contrary to their view, it will be argued that prototypicality will not do as a central concept in aesthetics.
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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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Creativity in the retarded.
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Lucien A. Buck, 1991, 9:1, 75-95.
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Abstract:
A diagnosis of "retardation" has generally promoted self-fulfilling expectations of incapacity. While a realistic assessment of "intellectual" and adaptive limitations needs to be provided, it is necessary to remember that a focus upon part-functions fails to capture the full complexity of being human. In the case of the "retarded," this has led to the neglect of creativity. A comprehensive evaluation, however, requires an atmosphere that facilitates potential. The art of two "retarded" young men has been selected to demonstrate the imaginative expression which occurs in a receptive environment. These two people represent different levels of "retardation" (mild versus moderate), and varying degrees of artistic talent at the time of their first contact with the program. Both exhibit the interpersonal growth which can accompany creative expansion. Finally, the technical and compositional proficiency which these individuals display requires a re-evaluation of traditional expectations in mental retardation.
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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 relationship between aesthetic judgment and dogmatism.
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John H. Fairhall & Keith F. Punch, 1991, 9:1, 97-103.
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Abstract:
The relationships among a set of five aesthetic judgment variables, and between those variables and dogmatism, were examined through the responses to eight paintings of a sample of 504 tertiary students. The judgment variables --evaluation and boldness-- were calibrated from an Art judgment Inventory, and dogmatism was measured by a shortened form of Rokeach's Dogmatism Scale. The judgment variables correlate as would be expected with each other, and dogmatism shows a consistent negative relationship with the judgment variables.
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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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