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| Home > Scholarly Contributions > Abstracts > Volume 9 Issue 2
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| Volume 9 Issue 2
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Parameters of aesthetic objects: Applied aesthetics.
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Walter A. Woods, 1991, 9:2, 105-114.
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Abstract:
The fundamental premise of this article is that aesthetic theorists have a responsibility more clearly to delineate the parameters of aesthetic objects than has been done. It is concluded that these parameters are known but have not been systematically organized. Consequently, they are not known as distinct parameters except to aesthetics specialists, and certainly not to practitioners in applied aesthetics. Three well-known parameters are delineated; formal parameters, fidelity parameters, and content (message) parameters. Three applied situations in which aesthetics are employed are described. These are fashion apparel design, art design, art psychotherapy and product advertising. For each of these it is illustrated how knowledge of the three parameters might lead to better applications.
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1983 at discounted rates.
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Absorption and trance-inductive poetry.
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Joseph Glicksohn, Reuven Tsur, & Chanita Goodblatt, 1991, 9:2, 115-122.
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Abstract:
This is an empirical study of trance-inductive poetry. Forty-one readers classified as low and high-absorption by median split, were asked to read a trance-inductive poem characterized by high metric regularity, and rate the latter on seven 7-point evaluative scales (e.g., boring-interesting). While low-absorption subjects found the poem to be boring and unpleasant, high-absorption subjects found the poem to be interesting and pleasant. We discuss how the low-absorption subjects respond to a flat sequence of monotonously rhyming lines, finding the text to be boring, while the high-absorption subjects detect a hierarchic structure in the poetic text, finding the latter to be pleasing.
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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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Event and decay of the aesthetic experience.
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Sergio Lombardo, 1991, 9:2, 123-141.
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Abstract:
The theory of eventualism states that the specific aim of art is the event. The aesthetic event is operatively defined as the sum of all different interpretations which the same stimulus can evoke from a group of people The theory also states that after long-term exposure, the stimulus will become familiar and the scattering of the interpretations will decay into a few conformist possibilities. When an aesthetic stimulus is completely decayed it becomes an ordinary object. A study was conducted comparing eventualist and preference responses to a set of eighteen nonsense shapes of three different degrees of complexity. Short-term and long-term responses were also compared. The results suggest that eventualist and preference responses are positively intercorrelated in the short term and strongly positively intercorrelated in the long term. Very important cases of divergency are discussed. More complex stimuli received higher eventualist scores and decayed more slowly than the less complex ones. The more complex stimuli also scored better results in the scale of preferences, and here the differences were even more significant.
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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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Understanding short stories: An American-Hungarian cross-cultural study.
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László Halász, 1991, 9:2, 143-163.
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Abstract:
This article presents a cross-cultural study about the relationship between story understanding, memory, and attitude towards the contents of a story. An American and a Hungarian short story dealing with the social class versus repression dimension were used. Thirty-four American freshmen (average age 18.5) and forty-eight Hungarian secondary school students (average 17.5) took part in the study. Half of each population read one, the second half the other story, in three-three segments. Following the reading of a segment, the subjects reported their understanding, answering some questions. They were asked to recognize some sentences in a set of original and false, aggressive, cooperative, evasive versions on 7 seven-point scales; and judged the content of the sentences from the points of view of refusal, activity, aggressivity, security, oppression, strength, and anxiety on 5-point scales. There were significant cross-cultural differences between the two populations in the frequency of the response-items of understanding and the recognition of sentences and in the content of the response-categories of understanding and the sensitivity towards aggressivity, oppression and anxiety. The results are discussed in terms of different issues of the social role of literature and literary competence on the one hand, and as those of some culture-dependent themes that influence literary understanding on the other hand.
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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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Artists and scientists: An analysis of marital status and stability.
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John R. Earle, Catherine T. Harris, Willie Pearson, Jr., Margaret S. Smith, & Philip J. Perricone, 1991, 9:2, 165-173.
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Abstract:
The authors hypothesize higher degrees of role ambivalence for female artists and scientists than for male artists, and especially male scientists. Likewise, they predict that female professionals in this sample are less likely to marry or to have stable marriages than male professionals. However, contrary to these predictions, male artists are more similar to female professionals than to male scientists, and female scientists were not characterized by the highest divorce rates. In fact, female scientists were less likely to be divorced or separated than male artists. In short, male artists represent the greatest departure from the patterns observed by other researchers. The analysis concludes with a comprehensive review of factors which may be useful in explaining the striking differences between male scientists and male artists with respect to marital status and stability.
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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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Pictorial realism.
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Baruch Blich, 1991, 9:2, 175-189.
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Abstract:
Regarding realism, Goodman says the following "Realism is relative, determined by the system of representation standard for a given culture or person at a given time." . . "Realism is a master of habit" ". . . reality in the world, like realism in a picture, is largely a matter of habit" . The relativist position expressed here, with its emphasis on the concept 'habit,' is reiterated by Goodman in many areas. We find it in each and every one of the subjects he dealt with, including the subject , to be discussed here, namely the problem of pictorial representation. Throughout the range of problems he considered, Goodman shows that the attribution of meanings to reality is an acquired habit, constituted by our exposure to history, culture and natural languages. Under different cultural-historical frameworks we would simply see in what is today considered as a nonrealistic painting, a depiction faithfully describing reality. Goodman leaves the ruling of a realism to the mercy of the cultural framework in which we live, and believes that habit alone is the final test for determining pictorial denotation: a picture is understood as denoting a particular scene from the moment we accustom ourselves to use a particular interpretive key, which is itself determined by tradition or even ad hoc. I attempt, in this article, to return the concept of habit to its usual, natural "rounds, with the intent of proposing a contrasting approach to Goodman's. My aim is to prove that the attribution of a realistic meaning to a picture is the result of a natural and rational decision between a number of possible alternatives. Accordingly, a picture is considered realistic as long as it demands less information than the other possible alternatives, to draw similarity between it and the objects it depicts. Alongside the consolidation of my approach to realism, I will consider Goodman's parallel position according to which "to represent, a picture must function as a pictorial symbol; that is, function in a system such that what is denoted depends solely upon the pictorial properties of the symbol". I would like to show that by extracting the interpretation of a picture from its immediate and natural perception, and by requiring a sign system to elucidate it, Goodman ignores the natural and essential relationship between the artistic means deployed by the artist and what we eventually see in the picture. In this method, the same picture may denote a considerable number of alternatives since what it represents depends on the sign system currently in use. In order to prove my claim, I will present a number of studies within the framework of Gestalt psychology, and will harness them to dismiss the relativism which Goodman expounds in this matter.
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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
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1983 at discounted rates.
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