Pub Date : 2024-05-31DOI: 10.1177/02762374241255875
Johannes Wagemann, Sarah Starosky
Aesthetic production, that is, the processing of material with a focus on the experiential and formal qualities of resulting objects and the process itself, encompasses basic dimensions of art, creativity, craft, and design. To explore these dimensions, we propose the Rubicon model of action phases as a general framework. Additionally, we introduce Schiller's aesthetics as an interactive account of formal/mental and material/physical aspects of aesthetic production and derive testable hypotheses from it. First, we expect form- and material-related experience to converge over an aesthetic production task; second, we assume that physical and mental actions occur with different prevalence across the action phases. These hypotheses were strengthened in a quasi-experimental mixed-methods study on a clay-molding task in an educational real-world setting ( N = 30). The results suggest understanding aesthetic production as a dynamic intertwining of object-related and subject-related experience, action, and embodiment, which supports the transdisciplinary significance of aesthetic production for self-development.
{"title":"Aesthetic Production in Clay Molding: Mental and Dynamically Embodied Action Mediate Between Formal and Material Aspects of Experience","authors":"Johannes Wagemann, Sarah Starosky","doi":"10.1177/02762374241255875","DOIUrl":"https://doi.org/10.1177/02762374241255875","url":null,"abstract":"Aesthetic production, that is, the processing of material with a focus on the experiential and formal qualities of resulting objects and the process itself, encompasses basic dimensions of art, creativity, craft, and design. To explore these dimensions, we propose the Rubicon model of action phases as a general framework. Additionally, we introduce Schiller's aesthetics as an interactive account of formal/mental and material/physical aspects of aesthetic production and derive testable hypotheses from it. First, we expect form- and material-related experience to converge over an aesthetic production task; second, we assume that physical and mental actions occur with different prevalence across the action phases. These hypotheses were strengthened in a quasi-experimental mixed-methods study on a clay-molding task in an educational real-world setting ( N = 30). The results suggest understanding aesthetic production as a dynamic intertwining of object-related and subject-related experience, action, and embodiment, which supports the transdisciplinary significance of aesthetic production for self-development.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"74 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141185326","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 : 2024-05-09DOI: 10.1177/02762374241252108
Katja Thömmes, Ronald Hübner, Gregor U. Hayn-Leichsenring
The Barnes Foundation is a traditional art collection and it is one of a kind as for the assorted hanging of the paintings. The sophisticated wall compositions by Albert Barnes were created as a tool for art education, and they have not been altered since 1951. Today, we are interested whether Barnes’ taste withstood the test of time. We asked participants in an online study to create their own hangings on five of the original gallery walls, and also tested whether beholders are able to identify a missing painting from a selection of suitable alternatives. Results show that Barnes’ motifs are reproduced by a significant number of participants and that experts produce more Barnes-like displays than naive participants. We conclude that Albert Barnes based his choices at least to some degree on universally valid visual aspects that are still understood today, especially by people trained in the visual domain.
{"title":"Is There a Timeless Truth for Good Arrangement of Paintings in Art Galleries and Museums? An Experimental Investigation of the Barnes Collection","authors":"Katja Thömmes, Ronald Hübner, Gregor U. Hayn-Leichsenring","doi":"10.1177/02762374241252108","DOIUrl":"https://doi.org/10.1177/02762374241252108","url":null,"abstract":"The Barnes Foundation is a traditional art collection and it is one of a kind as for the assorted hanging of the paintings. The sophisticated wall compositions by Albert Barnes were created as a tool for art education, and they have not been altered since 1951. Today, we are interested whether Barnes’ taste withstood the test of time. We asked participants in an online study to create their own hangings on five of the original gallery walls, and also tested whether beholders are able to identify a missing painting from a selection of suitable alternatives. Results show that Barnes’ motifs are reproduced by a significant number of participants and that experts produce more Barnes-like displays than naive participants. We conclude that Albert Barnes based his choices at least to some degree on universally valid visual aspects that are still understood today, especially by people trained in the visual domain.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"430 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140903299","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 : 2024-04-22DOI: 10.1177/02762374241248117
Joshua A. Wilt, Julie J. Exline, Rebecca J. Schlegel, Aleksandra Sherman
Previous research revealed that meaning in life is related positively to psychological engagement with art (i.e., aesthetic engagement), such as interest in art, knowledge about art, awe around art, and supernatural attributions for art experiences. We extended this work by considering the relevance of dispositions toward aesthetics (i.e., aesthetic dispositions), such as openness to experience, creativity in general and in art, and religious belief salience. Specifically, we proposed a conceptual model relating aesthetic dispositions, aesthetic engagement, and meaning in life. We tested hypotheses derived from the model with an online sample of N = 696 artists. Correlational results supported our hypotheses and replicated previous findings. Path analytic results showed that interest in art mediated associations between aesthetic dispositions and meaning in life. The results contribute to empirical work on aesthetic cognitivism, the philosophical stance that art can lead to understanding, by shedding light on factors associated with meaningful interactions with art.
以往的研究表明，人生意义与对艺术的心理参与（即审美参与）呈正相关，如对艺术的兴趣、对艺术的了解、对艺术的敬畏以及对艺术体验的超自然归因。我们对这项工作进行了扩展，考虑了审美倾向（即审美倾向）的相关性，如对经验的开放性、一般和艺术的创造性以及宗教信仰的显著性。具体来说，我们提出了一个关于审美倾向、审美参与和人生意义的概念模型。我们以 N = 696 名艺术家为在线样本，检验了从该模型中得出的假设。相关结果支持了我们的假设，并重复了之前的研究结果。路径分析结果表明，对艺术的兴趣在审美倾向和人生意义之间起到了中介作用。这些结果通过揭示与艺术进行有意义互动的相关因素，为审美认知主义（即艺术可以导致理解的哲学立场）的实证研究做出了贡献。
{"title":"Aesthetic Dispositions, Aesthetic Engagement, and Meaning in Life","authors":"Joshua A. Wilt, Julie J. Exline, Rebecca J. Schlegel, Aleksandra Sherman","doi":"10.1177/02762374241248117","DOIUrl":"https://doi.org/10.1177/02762374241248117","url":null,"abstract":"Previous research revealed that meaning in life is related positively to psychological engagement with art (i.e., aesthetic engagement), such as interest in art, knowledge about art, awe around art, and supernatural attributions for art experiences. We extended this work by considering the relevance of dispositions toward aesthetics (i.e., aesthetic dispositions), such as openness to experience, creativity in general and in art, and religious belief salience. Specifically, we proposed a conceptual model relating aesthetic dispositions, aesthetic engagement, and meaning in life. We tested hypotheses derived from the model with an online sample of N = 696 artists. Correlational results supported our hypotheses and replicated previous findings. Path analytic results showed that interest in art mediated associations between aesthetic dispositions and meaning in life. The results contribute to empirical work on aesthetic cognitivism, the philosophical stance that art can lead to understanding, by shedding light on factors associated with meaningful interactions with art.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"77 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140636043","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 : 2024-04-16DOI: 10.1177/02762374241246948
SiBo Zhou, Norfarizah Mohd Bakhir
The field of interdisciplinary art education, particularly through digital game-based learning, lacks empirical research on the art learning process and the competencies gained along the process. To address this research gap, this study collects data through experiment and post-experiment interviews from 20 science and engineering college students who participated in a 1-month digital game-based art learning program. The findings reveal three learning process cycles involved during art educational digital gameplay, namely the game action cycle, the experiential learning process cycle, and the game response cycle. Throughout the three process cycles, 29 learning outcomes were identified based on students’ gameplay experiences. These outcomes are then categorized into three themes, including enhanced self-management, enhanced learning experience, and refinement of proprioceptive competencies. Overall, this study highlights the digital learning process in the context of interdisciplinary art education and emphasizes the importance of valuing the outcomes gained from digital game-based learning in art education.
{"title":"Interdisciplinary Art Learning Through Artistic Digital Game-Based Learning (DGBL): Evaluating Learning Outcomes and Processes Among Science and Engineering Students","authors":"SiBo Zhou, Norfarizah Mohd Bakhir","doi":"10.1177/02762374241246948","DOIUrl":"https://doi.org/10.1177/02762374241246948","url":null,"abstract":"The field of interdisciplinary art education, particularly through digital game-based learning, lacks empirical research on the art learning process and the competencies gained along the process. To address this research gap, this study collects data through experiment and post-experiment interviews from 20 science and engineering college students who participated in a 1-month digital game-based art learning program. The findings reveal three learning process cycles involved during art educational digital gameplay, namely the game action cycle, the experiential learning process cycle, and the game response cycle. Throughout the three process cycles, 29 learning outcomes were identified based on students’ gameplay experiences. These outcomes are then categorized into three themes, including enhanced self-management, enhanced learning experience, and refinement of proprioceptive competencies. Overall, this study highlights the digital learning process in the context of interdisciplinary art education and emphasizes the importance of valuing the outcomes gained from digital game-based learning in art education.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"28 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140608268","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 : 2024-04-08DOI: 10.1177/02762374241237683
Marco Susino, William Forde Thompson, Emery Schubert, Mary Broughton
The link between music and emotion, as articulated from a cognitive perspective, assumes that music carries expressive cues that convey or induce emotional responses in listeners. Studies following this paradigm often investigate how responses converge or diverge among individuals, social groups, and cultures. However, results vary from one study to another, with few satisfactory explanations as to why. We contend that emotional responses to music are adaptable, arising from a conscious and subconscious continuous processing of the overarching situational context and its interaction with psychophysical, cultural, and personal variables. By integrating theory and data from multiple domains, we present the Framework for Adaptable Musical Emotions (FAME), which explains emotional responses to music through the mechanism of emotion adaptability on a continuum of evolutionary to fleeting time frames. FAME represents an advance on models of music and emotion that primarily focus on decoding emotional signals from the sounded music. FAME provides the first basis for predictions of emotional adaptability and situational context and may explain previously observed variability in emotional responses to music, guiding future research, and novel understandings.
从认知角度阐述音乐与情感之间的联系时，假定音乐带有表达性线索，能够传达或诱发听众的情感反应。遵循这一范式的研究通常会调查不同个体、社会群体和文化之间的反应是如何趋同或差异的。然而，每项研究的结果都不尽相同，很少有令人满意的解释。我们认为，对音乐的情绪反应是可适应的，它产生于意识和潜意识对总体情境及其与心理物理、文化和个人变量之间相互作用的持续处理。通过整合来自多个领域的理论和数据，我们提出了 "音乐情感适应性框架"（Framework for Adaptable Musical Emotions，FAME），该框架通过情感适应性机制解释了从进化到转瞬即逝的连续时间框架内对音乐的情感反应。FAME 代表了音乐和情感模型的进步，这些模型主要侧重于解码音乐中的情感信号。FAME为预测情感适应性和情境背景提供了第一个基础，并可以解释之前观察到的对音乐的情感反应的变异性，从而指导未来的研究和新的理解。
{"title":"Emotional Responses to Music: The Essential Inclusion of Emotion Adaptability and Situational Context","authors":"Marco Susino, William Forde Thompson, Emery Schubert, Mary Broughton","doi":"10.1177/02762374241237683","DOIUrl":"https://doi.org/10.1177/02762374241237683","url":null,"abstract":"The link between music and emotion, as articulated from a cognitive perspective, assumes that music carries expressive cues that convey or induce emotional responses in listeners. Studies following this paradigm often investigate how responses converge or diverge among individuals, social groups, and cultures. However, results vary from one study to another, with few satisfactory explanations as to why. We contend that emotional responses to music are adaptable, arising from a conscious and subconscious continuous processing of the overarching situational context and its interaction with psychophysical, cultural, and personal variables. By integrating theory and data from multiple domains, we present the Framework for Adaptable Musical Emotions (FAME), which explains emotional responses to music through the mechanism of emotion adaptability on a continuum of evolutionary to fleeting time frames. FAME represents an advance on models of music and emotion that primarily focus on decoding emotional signals from the sounded music. FAME provides the first basis for predictions of emotional adaptability and situational context and may explain previously observed variability in emotional responses to music, guiding future research, and novel understandings.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"60 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140539057","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}
This article examines the role of epistemic value, and social value on behavioral intentions and the relationship between these three factors as antecedents of word of mouth (WOM) and electronic word of mouth (eWOM) in the opera sector. The effects of these antecedents are investigated using a multimethod approach combining partial least square and necessary condition analysis. A quantitative study was conducted on a sample of 149 operagoers. The results show that epistemic value influences repurchase intentions, while social value does not. Furthermore, epistemic value and social value are positive sufficient and necessary antecedents of WOM, showing relevant results regarding their ultimate role in generating WOM. Similarly, social value is a positive sufficient but not necessary antecedent of eWOM. The findings suggest that cultural managers should emphasize learning experiences regarding the opera, as epistemic value is highly valuable for WOM and the reason for attending another opera.
{"title":"Unpacking the Antecedents of Word of Mouth and Electronic Word of Mouth in the Opera Sector: A Multimethodological Study Based on PLS and NCA","authors":"Yacine Ouazzani, Haydeé Calderón-García, Berta Tubillejas-Andrés","doi":"10.1177/02762374241245360","DOIUrl":"https://doi.org/10.1177/02762374241245360","url":null,"abstract":"This article examines the role of epistemic value, and social value on behavioral intentions and the relationship between these three factors as antecedents of word of mouth (WOM) and electronic word of mouth (eWOM) in the opera sector. The effects of these antecedents are investigated using a multimethod approach combining partial least square and necessary condition analysis. A quantitative study was conducted on a sample of 149 operagoers. The results show that epistemic value influences repurchase intentions, while social value does not. Furthermore, epistemic value and social value are positive sufficient and necessary antecedents of WOM, showing relevant results regarding their ultimate role in generating WOM. Similarly, social value is a positive sufficient but not necessary antecedent of eWOM. The findings suggest that cultural managers should emphasize learning experiences regarding the opera, as epistemic value is highly valuable for WOM and the reason for attending another opera.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"47 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140533180","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 : 2024-03-18DOI: 10.1177/02762374241239890
Ana Butković, Valnea Žauhar
In this study, we examined the associations between music preferences, uses of music and personality factors and facets. The sample included 449 participants (50% female, M = 23.59, SD = 2.14) who indicated preferences for international and regional music styles that were classified into Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic, and Regional preferences, and filled in the Uses of Music Inventory and IPIP-300 questionnaire. After controlling for age, gender and uses of music, personality significantly added to the prediction of all music preferences, except Energetic and Rhythmic. Personality factors explained additionally from 9% to 21%, and facets from 18% to 34% of the music preference variance, respectively. Openness, as well as some openness facets, emerged as significant predictors for different music preferences. Our results indicate that when trying to explain preferences with personality traits, the personality traits should be measured at the facet level.
{"title":"Music Preferences and Their Associations With Uses of Music and Personality Factors and Facets","authors":"Ana Butković, Valnea Žauhar","doi":"10.1177/02762374241239890","DOIUrl":"https://doi.org/10.1177/02762374241239890","url":null,"abstract":"In this study, we examined the associations between music preferences, uses of music and personality factors and facets. The sample included 449 participants (50% female, M = 23.59, SD = 2.14) who indicated preferences for international and regional music styles that were classified into Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic, and Regional preferences, and filled in the Uses of Music Inventory and IPIP-300 questionnaire. After controlling for age, gender and uses of music, personality significantly added to the prediction of all music preferences, except Energetic and Rhythmic. Personality factors explained additionally from 9% to 21%, and facets from 18% to 34% of the music preference variance, respectively. Openness, as well as some openness facets, emerged as significant predictors for different music preferences. Our results indicate that when trying to explain preferences with personality traits, the personality traits should be measured at the facet level.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"137 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140162153","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 : 2024-03-13DOI: 10.1177/02762374241237981
Arkadiusz Urbanek, Anna Borkowska, Wojciech Milczarski, Jarosław Zagrobelny, Jerzy Luty, Michał Białek
Vague, impressive language used in descriptions (bullshit) is thought to make art seem more profound and valuable to the viewer. We studied the effect during art exhibitions in real-life gallery-goers who saw paintings of four artists, each with either simplified, neutral, or bullshitty description. We crafted a typical description of each painting, which we later manipulated in terms of language. A simplified description was modified to be concrete and simplistic, while a bullshitty one was very abstract and vague. After analyzing over 1500 ratings, we found the expressive language of descriptions had a negligible effect on the perceived quality and monetary value of art ( R2 marginal ≤ 1%). We conclude that, at least for experienced gallery-goers, the description accompanying a painting has little influence, and the art speaks for itself.
{"title":"Bullshit (Sometimes) Makes the Art (Slightly) More Attractive: A Field Study in Gallery-Goers","authors":"Arkadiusz Urbanek, Anna Borkowska, Wojciech Milczarski, Jarosław Zagrobelny, Jerzy Luty, Michał Białek","doi":"10.1177/02762374241237981","DOIUrl":"https://doi.org/10.1177/02762374241237981","url":null,"abstract":"Vague, impressive language used in descriptions (bullshit) is thought to make art seem more profound and valuable to the viewer. We studied the effect during art exhibitions in real-life gallery-goers who saw paintings of four artists, each with either simplified, neutral, or bullshitty description. We crafted a typical description of each painting, which we later manipulated in terms of language. A simplified description was modified to be concrete and simplistic, while a bullshitty one was very abstract and vague. After analyzing over 1500 ratings, we found the expressive language of descriptions had a negligible effect on the perceived quality and monetary value of art ( R<jats:sup>2</jats:sup> marginal ≤ 1%). We conclude that, at least for experienced gallery-goers, the description accompanying a painting has little influence, and the art speaks for itself.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"16 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130166","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 : 2024-03-07DOI: 10.1177/02762374231217638
Nastaran Kazemian, Khatereh Borhani, Soroosh Golbabaei, Julia F. Christensen
Results remain mixed regarding the effects of incubation tasks on divergent thinking, a type of creativity, generally assessed via the Unusual Uses Task (UUT). Using a within-subjects design, we compared 64 participants’ performance on the UUT, after four different incubation tasks: copy a simple painting, copy a complex painting, 0-back-task, and rest. We hypothesized that an arts-related activity during incubation (here: copy a painting) would boost subsequent creativity. Five different creativity scores were computed from the raw UUT data, and we provide a step-by-step guide for how to compute these: fluency, flexibility, originality, subjective creativity, and usefulness. Creativity was only modulated by sex; women outperformed men on creative fluency. No other variables, nor the incubations, modulated any of participants’ creativity scores. A within-group comparison showed that the unusual uses of our all-Iranian participants were more useful than unique, echoing previous work suggesting differences between Eastern and Western conceptions of creativity.
关于培养任务对发散思维（一种创造力，通常通过 "不寻常用途任务"（UUT）进行评估）的影响，研究结果仍然不一。我们采用被试内设计，比较了 64 名参与者在完成四项不同的培养任务（临摹一幅简单的画、临摹一幅复杂的画、0-back-task 和休息）后在 UUT 上的表现。我们假设，在熏陶期间进行与艺术相关的活动（这里指的是临摹一幅画）会提高随后的创造力。我们根据 UUT 原始数据计算出了五种不同的创造力得分，并提供了计算这些得分的步骤指南：流畅性、灵活性、独创性、主观创造力和实用性。创造力只受性别影响；女性在创造力的流畅性方面优于男性。其他变量和 "孵化 "均不影响参与者的创造力得分。组内比较显示，我们所有伊朗参与者的不寻常用途更有用而非独特，这与之前的研究结果一致，表明东西方对创造力的概念存在差异。
{"title":"Some Effects of Sex and Culture on Creativity, No Effect of Incubation","authors":"Nastaran Kazemian, Khatereh Borhani, Soroosh Golbabaei, Julia F. Christensen","doi":"10.1177/02762374231217638","DOIUrl":"https://doi.org/10.1177/02762374231217638","url":null,"abstract":"Results remain mixed regarding the effects of incubation tasks on divergent thinking, a type of creativity, generally assessed via the Unusual Uses Task (UUT). Using a within-subjects design, we compared 64 participants’ performance on the UUT, after four different incubation tasks: copy a simple painting, copy a complex painting, 0-back-task, and rest. We hypothesized that an arts-related activity during incubation (here: copy a painting) would boost subsequent creativity. Five different creativity scores were computed from the raw UUT data, and we provide a step-by-step guide for how to compute these: fluency, flexibility, originality, subjective creativity, and usefulness. Creativity was only modulated by sex; women outperformed men on creative fluency. No other variables, nor the incubations, modulated any of participants’ creativity scores. A within-group comparison showed that the unusual uses of our all-Iranian participants were more useful than unique, echoing previous work suggesting differences between Eastern and Western conceptions of creativity.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"18 1","pages":""},"PeriodicalIF":1.5,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140064350","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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