Pub Date : 2021-02-25DOI: 10.1177/0276237421994700
JooYeon Park, Jihye Park, Ji Hyon Park
This paper investigated the impact of the type of title on the price of the artwork effects using the hammer price of the paintings auctioned in Korea during a two-year period from December 2017 to November 2019. The results of the analysis showed that a descriptive title had a negative effect on the prices fetched, whereas a more elaborate title had a positive effect on auction prices. Also, it was found that elaborate titles for abstract paintings had a significant positive impact on the hammer price. In the case of unknown artists, a descriptive title had a negative effect on the auction price, while the absence of a title had a positive impact. The findings of this study suggest that artists must make careful decisions when titling their work because the title of the work affects the purchase decisions of art collectors.
{"title":"What Type of Title Would You Put on Your Paintings?: The Impact on the Price of Artwork According to Its Title","authors":"JooYeon Park, Jihye Park, Ji Hyon Park","doi":"10.1177/0276237421994700","DOIUrl":"https://doi.org/10.1177/0276237421994700","url":null,"abstract":"This paper investigated the impact of the type of title on the price of the artwork effects using the hammer price of the paintings auctioned in Korea during a two-year period from December 2017 to November 2019. The results of the analysis showed that a descriptive title had a negative effect on the prices fetched, whereas a more elaborate title had a positive effect on auction prices. Also, it was found that elaborate titles for abstract paintings had a significant positive impact on the hammer price. In the case of unknown artists, a descriptive title had a negative effect on the auction price, while the absence of a title had a positive impact. The findings of this study suggest that artists must make careful decisions when titling their work because the title of the work affects the purchase decisions of art collectors.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994700","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41913588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-16DOI: 10.1177/0276237421994697
Harsha Gangadharbatla
Artwork is increasingly being created by machines through algorithms with little or no input from humans. Yet, very little is known about people’s attitudes and evaluations of artwork generated by machines. The current study investigates (a) whether individuals are able to accurately differentiate human-made artwork from AI-generated artwork and (b) the role of attribution knowledge (i.e., information about who created the content) in their evaluation and reception of artwork. Data was collected using an Amazon Turk sample from two survey experiments designed on Qualtrics. Findings suggest that individuals are unable to accurately identify AI-generated artwork and they are likely to associate representational art to humans and abstract art to machines. There is also an interaction effect between attribution knowledge and the type of artwork (representational vs. abstract) on purchase intentions and evaluations of artworks.
{"title":"The Role of AI Attribution Knowledge in the Evaluation of Artwork","authors":"Harsha Gangadharbatla","doi":"10.1177/0276237421994697","DOIUrl":"https://doi.org/10.1177/0276237421994697","url":null,"abstract":"Artwork is increasingly being created by machines through algorithms with little or no input from humans. Yet, very little is known about people’s attitudes and evaluations of artwork generated by machines. The current study investigates (a) whether individuals are able to accurately differentiate human-made artwork from AI-generated artwork and (b) the role of attribution knowledge (i.e., information about who created the content) in their evaluation and reception of artwork. Data was collected using an Amazon Turk sample from two survey experiments designed on Qualtrics. Findings suggest that individuals are unable to accurately identify AI-generated artwork and they are likely to associate representational art to humans and abstract art to machines. There is also an interaction effect between attribution knowledge and the type of artwork (representational vs. abstract) on purchase intentions and evaluations of artworks.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994697","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47712871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present study examined the effects of affective context on evaluation of facial expression of emotion in portrait paintings. Pleasant, unpleasant, and neutral context photographs were presented prior to target portrait paintings. The participants’ task was to view the portrait painting and choose an emotion label that fit the subject of the painting. The results from Experiment 1 indicated that when preceded by pleasant context, the faces in the portraits were labeled as happier. When preceded by unpleasant context, they were labeled as less happy, sadder, and more fearful. In Experiment 2, the labeling effects disappeared when context photographs were presented at a subthreshold 20 ms SOA. In both experiments, context affected processing times, with times slower for pleasant context and faster for unpleasant context. The results suggest that the context effects depend on both automatic and controlled processing of affective content contained in context photographs.
本研究考察了情感语境对肖像画中表情情感评价的影响。愉快、不愉快和中性背景的照片在目标肖像画之前呈现。参与者的任务是观看肖像画，并选择一个适合画作主题的情感标签。实验1的结果表明，在愉快的背景之前，肖像中的面孔被标记为更快乐。当之前有不愉快的背景时，他们会被贴上不那么快乐、更悲伤、更恐惧的标签。在实验2中，当背景照片呈现在亚阈值20时，标记效应消失 ms SOA。在这两个实验中，上下文都会影响处理时间，愉快上下文的处理时间较慢，不愉快上下文的时间较快。研究结果表明，语境效应依赖于对语境照片中情感内容的自动和可控处理。
{"title":"Affective Context and the Interpretation of Facial Expressions in Portrait Paintings","authors":"J. Mullennix, Amber Hedzik, Amanda Wolfe, Lauren Amann, Bethany Breshears, Nate Ticjak","doi":"10.1177/0276237421994696","DOIUrl":"https://doi.org/10.1177/0276237421994696","url":null,"abstract":"The present study examined the effects of affective context on evaluation of facial expression of emotion in portrait paintings. Pleasant, unpleasant, and neutral context photographs were presented prior to target portrait paintings. The participants’ task was to view the portrait painting and choose an emotion label that fit the subject of the painting. The results from Experiment 1 indicated that when preceded by pleasant context, the faces in the portraits were labeled as happier. When preceded by unpleasant context, they were labeled as less happy, sadder, and more fearful. In Experiment 2, the labeling effects disappeared when context photographs were presented at a subthreshold 20 ms SOA. In both experiments, context affected processing times, with times slower for pleasant context and faster for unpleasant context. The results suggest that the context effects depend on both automatic and controlled processing of affective content contained in context photographs.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994696","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42699776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-26DOI: 10.1177/02762374211001811
Suhyun Park, Louis Wiliams, R. Chamberlain
Previous research has shown that artists employ flexible attentional strategies during offline perceptual tasks. The current study explored visual processing online, by tracking the eye movements of artists and non-artists (n=65) while they produced representational drawings of photographic stimuli. The findings revealed that it is possible to differentiate artists from non-artists on the basis of the relative amount of global-to-local saccadic eye movements they make when looking at the target stimulus while drawing, but not in a preparatory free viewing phase. Results indicated that these differences in eye movements are not specifically related to representational drawing ability, and may be a feature of artistic ability more broadly. This eye movement analysis technique may be used in future research to characterise the dynamics of attentional shifts in eye movements while artists are carrying out a range of artistic tasks.
{"title":"Global Saccadic Eye Movements Characterise Artists’ Visual Attention While Drawing","authors":"Suhyun Park, Louis Wiliams, R. Chamberlain","doi":"10.1177/02762374211001811","DOIUrl":"https://doi.org/10.1177/02762374211001811","url":null,"abstract":"Previous research has shown that artists employ flexible attentional strategies during offline perceptual tasks. The current study explored visual processing online, by tracking the eye movements of artists and non-artists (n=65) while they produced representational drawings of photographic stimuli. The findings revealed that it is possible to differentiate artists from non-artists on the basis of the relative amount of global-to-local saccadic eye movements they make when looking at the target stimulus while drawing, but not in a preparatory free viewing phase. Results indicated that these differences in eye movements are not specifically related to representational drawing ability, and may be a feature of artistic ability more broadly. This eye movement analysis technique may be used in future research to characterise the dynamics of attentional shifts in eye movements while artists are carrying out a range of artistic tasks.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/02762374211001811","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43061863","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-12DOI: 10.1177/0276237420986420
Jimpei Hitsuwari, M. Nomura
The factors influencing poetry’s aesthetic appreciation are largely unknown. Some studies have reported features that affect the aesthetic appreciation of poetry. This study sought to determine which states and traits predict the aesthetic appeal of haiku poetry. We recruited 277 participants to rate 36 haiku on five characteristics: imagery vividness, stimulus valence, arousal, valence of felt emotion, and aesthetic appeal of haiku. Then, participants completed questionnaires that assessed their own traits. We found both valence of felt emotion and imagery vividness generally predicted haiku’s aesthetic appeal; additionally, the influence of imagery vividness on aesthetic appeal was partially mediated by valence of felt emotion. As mental imagery fosters emotional evocation, vivid imagery increases positive felt emotions associated with aesthetic appeal. Furthermore, the traits of visual imagery ability, awe-proneness, and nostalgia-proneness predicted haiku’s aesthetic appeal. This study advances our knowledge of how individual states and traits determine the aesthetic appeal of haiku.
{"title":"How Individual States and Traits Predict Aesthetic Appreciation of Haiku Poetry","authors":"Jimpei Hitsuwari, M. Nomura","doi":"10.1177/0276237420986420","DOIUrl":"https://doi.org/10.1177/0276237420986420","url":null,"abstract":"The factors influencing poetry’s aesthetic appreciation are largely unknown. Some studies have reported features that affect the aesthetic appreciation of poetry. This study sought to determine which states and traits predict the aesthetic appeal of haiku poetry. We recruited 277 participants to rate 36 haiku on five characteristics: imagery vividness, stimulus valence, arousal, valence of felt emotion, and aesthetic appeal of haiku. Then, participants completed questionnaires that assessed their own traits. We found both valence of felt emotion and imagery vividness generally predicted haiku’s aesthetic appeal; additionally, the influence of imagery vividness on aesthetic appeal was partially mediated by valence of felt emotion. As mental imagery fosters emotional evocation, vivid imagery increases positive felt emotions associated with aesthetic appeal. Furthermore, the traits of visual imagery ability, awe-proneness, and nostalgia-proneness predicted haiku’s aesthetic appeal. This study advances our knowledge of how individual states and traits determine the aesthetic appeal of haiku.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237420986420","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49163761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-12DOI: 10.1177/0276237420984718
C. Gafni, Reuven Tsur
Poems, as aesthetic objects, generate a subjective experience, which can be different for different readers. In this paper, we propose a method to quantify these subjective experiences. We gave participants three parallel excerpts and asked them to describe, in free text, the perceived emotive qualities of these excerpts. The descriptions were analysed quantitatively according to the dimensions of the Valence-Arousal-Dominance model of emotion. With the help of additional rating tasks and a structural theory of phonetic symbolism, we attribute the perceived emotive qualities to an interaction between the meaning of words, patterns of alliteration, and metric deviation.
{"title":"Studying Emotive Effects in Poetry by Quantifying Open-Ended Impressions","authors":"C. Gafni, Reuven Tsur","doi":"10.1177/0276237420984718","DOIUrl":"https://doi.org/10.1177/0276237420984718","url":null,"abstract":"Poems, as aesthetic objects, generate a subjective experience, which can be different for different readers. In this paper, we propose a method to quantify these subjective experiences. We gave participants three parallel excerpts and asked them to describe, in free text, the perceived emotive qualities of these excerpts. The descriptions were analysed quantitatively according to the dimensions of the Valence-Arousal-Dominance model of emotion. With the help of additional rating tasks and a structural theory of phonetic symbolism, we attribute the perceived emotive qualities to an interaction between the meaning of words, patterns of alliteration, and metric deviation.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237420984718","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48338596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1177/0276237419868941
Jennifer E. Drake, Seymour Simmons, Seth Rouser, Isabella Poloes, E. Winner
The ability to envision what is not directly seen is important in the visual arts, since artists do more than reproduce what they see. Such envisioning requires visual imagery abilities. In this study, we examined whether art students (n = 32) have enhanced visual imagery abilities compared to nonart students (n = 40). We administered four tasks designed to assess visual imagery. Three tasks assessed the ability to activate mental images: vividness of visual imagery, recognition of out-of-focus pictures, and abstraction; the fourth task assessed the ability to manipulate mental images: mental rotation. We also administered a verbal IQ and a creativity test to determine whether these measures should be included as covariates in our analyses. Results showed that art students excelled on two of the three image activation tasks, vividness of visual imagery and abstraction, but did not excel on the image manipulation task of mental rotation.
{"title":"Artists Excel on Image Activation But Not Image Manipulation Tasks","authors":"Jennifer E. Drake, Seymour Simmons, Seth Rouser, Isabella Poloes, E. Winner","doi":"10.1177/0276237419868941","DOIUrl":"https://doi.org/10.1177/0276237419868941","url":null,"abstract":"The ability to envision what is not directly seen is important in the visual arts, since artists do more than reproduce what they see. Such envisioning requires visual imagery abilities. In this study, we examined whether art students (n = 32) have enhanced visual imagery abilities compared to nonart students (n = 40). We administered four tasks designed to assess visual imagery. Three tasks assessed the ability to activate mental images: vividness of visual imagery, recognition of out-of-focus pictures, and abstraction; the fourth task assessed the ability to manipulate mental images: mental rotation. We also administered a verbal IQ and a creativity test to determine whether these measures should be included as covariates in our analyses. Results showed that art students excelled on two of the three image activation tasks, vividness of visual imagery and abstraction, but did not excel on the image manipulation task of mental rotation.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237419868941","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43969008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1177/0276237419868948
Melissa J. Dolese, N. Kacinik
The idea of art as a language of emotion has historical roots. This study asked if color, as an integrated pictorial element in Himalayan art, can communicate the intended emotions to North American viewers. To investigate the extent to which those emotions are congruent cross-culturally, participants were assigned to four conditions of varying levels of informativeness, based on whether they did or did not receive an informational brochure and a checklist of emotional terms to reference. Results were analyzed using Latent Semantic Analysis to assess the similarity of word meanings. Participant responses were compared to the emotions that should be conveyed according to Himalayan culture and curators of an exhibit on Himalayan art. Cosine values were generally high in all conditions, indicating that certain colors (i.e., red, black, and gold) can convey consistent emotional information to viewers from very different cultures, even with little or no corresponding verbal material.
{"title":"What Color as an Integrated Pictorial Element in Himalayan Art Can Communicate: Cross-Cultural Congruence of Color-Emotion Conceptualizations in Himalayan Art","authors":"Melissa J. Dolese, N. Kacinik","doi":"10.1177/0276237419868948","DOIUrl":"https://doi.org/10.1177/0276237419868948","url":null,"abstract":"The idea of art as a language of emotion has historical roots. This study asked if color, as an integrated pictorial element in Himalayan art, can communicate the intended emotions to North American viewers. To investigate the extent to which those emotions are congruent cross-culturally, participants were assigned to four conditions of varying levels of informativeness, based on whether they did or did not receive an informational brochure and a checklist of emotional terms to reference. Results were analyzed using Latent Semantic Analysis to assess the similarity of word meanings. Participant responses were compared to the emotions that should be conveyed according to Himalayan culture and curators of an exhibit on Himalayan art. Cosine values were generally high in all conditions, indicating that certain colors (i.e., red, black, and gold) can convey consistent emotional information to viewers from very different cultures, even with little or no corresponding verbal material.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237419868948","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42595089","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1177/0276237419868952
Maria Manolika, Alexandros Baltzis, Antonis Gardikiotis
Considerable research on music psychology indicates correlations between musical preferences and individual differences in personality, between the various uses of music and personality traits, and between musical preferences and personal values. However, the association between personal values and the multiple ways in which music is used has not been considered yet. To investigate this issue, 400 participants completed a self-report questionnaire comprising the uses of music, personality traits, and personal values, as well as provided their demographic details. The hierarchical regression analyses revealed that both personality and personal values along with gender contribute differentially to predicting the different ways in which music is used. Overall, these findings suggest that the understanding of the ways in which listeners experience music can be improved by contemplating various individual difference variables.
{"title":"Individual Differences in Music Listener Motivations: The Neglected Values","authors":"Maria Manolika, Alexandros Baltzis, Antonis Gardikiotis","doi":"10.1177/0276237419868952","DOIUrl":"https://doi.org/10.1177/0276237419868952","url":null,"abstract":"Considerable research on music psychology indicates correlations between musical preferences and individual differences in personality, between the various uses of music and personality traits, and between musical preferences and personal values. However, the association between personal values and the multiple ways in which music is used has not been considered yet. To investigate this issue, 400 participants completed a self-report questionnaire comprising the uses of music, personality traits, and personal values, as well as provided their demographic details. The hierarchical regression analyses revealed that both personality and personal values along with gender contribute differentially to predicting the different ways in which music is used. Overall, these findings suggest that the understanding of the ways in which listeners experience music can be improved by contemplating various individual difference variables.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237419868952","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43387655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1177/0276237419897048
Marco Bertamini, M. Sinico
There is a long history of studies of shape preference using simple abstract two-dimensional shapes. The evidence has confirmed a preference for symmetry, high contrast, and smoothness over asymmetry, low contrast, and angularity. However, the evidence about the role of culture and expertise is inconclusive. We asked a group of 56 expert designers (studying at the IUAV) to draw seven objects on paper and for each provide two versions: a smooth version and an angular version. These stimuli therefore show everyday objects, freely chosen by the authors, drawn with novel shapes. Next, we presented these stimuli to nonexperts. We collected ratings for seven characteristics (“ugly/beautiful, dark/light, complex/simple, heavy/light, old/modern, dangerous/safe, and asymmetrical/symmetrical”) from naive observers (n = 174). The analysis of the rating data confirmed a link between smoothness and beauty as well as a few other associations. We made the database (772 images) including the average ratings openly available to other researchers.
{"title":"A Study of Objects With Smooth or Sharp Features Created as Line Drawings by Individuals Trained in Design","authors":"Marco Bertamini, M. Sinico","doi":"10.1177/0276237419897048","DOIUrl":"https://doi.org/10.1177/0276237419897048","url":null,"abstract":"There is a long history of studies of shape preference using simple abstract two-dimensional shapes. The evidence has confirmed a preference for symmetry, high contrast, and smoothness over asymmetry, low contrast, and angularity. However, the evidence about the role of culture and expertise is inconclusive. We asked a group of 56 expert designers (studying at the IUAV) to draw seven objects on paper and for each provide two versions: a smooth version and an angular version. These stimuli therefore show everyday objects, freely chosen by the authors, drawn with novel shapes. Next, we presented these stimuli to nonexperts. We collected ratings for seven characteristics (“ugly/beautiful, dark/light, complex/simple, heavy/light, old/modern, dangerous/safe, and asymmetrical/symmetrical”) from naive observers (n = 174). The analysis of the rating data confirmed a link between smoothness and beauty as well as a few other associations. We made the database (772 images) including the average ratings openly available to other researchers.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237419897048","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47968883","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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