Pub Date : 2023-04-11DOI: 10.1177/02762374231165648
Jan Verpooten, Sarah Delcourt, S. Dewitte
Art experts generally perceive, process, and appreciate artworks differently from non-experts. Here we explored whether animacy of the content and prestige of the context of artworks matter to experts. Results (n > 1,000) suggest that experts are indeed swayed by prestige cues when appreciating artworks. Furthermore, the higher their expertise, the less animacy matters, to the point even of a reversal among the highest echelons. There experts prefer inanimate (e.g., furniture) to animate stimuli. We consider several, mostly complementary explanations. One interpretation is that experts might have learned through prestige bias to reduce their preference for animacy, which would be consistent with a prestige bias runaway process. Other interpretations include processing perceptual (dis)fluency, cognitive mastering, and identity signaling. Irrespective of the precise roles of these compatible processes, the results might point to a more general expertise-dependent pattern. We close by discussing further research opportunities to further fine-tune possible explanations.
{"title":"Do Prestige and Animacy Matter to Art Experts? Exploring Social Learning, Signaling, Perceptual, and Cognitive Explanations","authors":"Jan Verpooten, Sarah Delcourt, S. Dewitte","doi":"10.1177/02762374231165648","DOIUrl":"https://doi.org/10.1177/02762374231165648","url":null,"abstract":"Art experts generally perceive, process, and appreciate artworks differently from non-experts. Here we explored whether animacy of the content and prestige of the context of artworks matter to experts. Results (n > 1,000) suggest that experts are indeed swayed by prestige cues when appreciating artworks. Furthermore, the higher their expertise, the less animacy matters, to the point even of a reversal among the highest echelons. There experts prefer inanimate (e.g., furniture) to animate stimuli. We consider several, mostly complementary explanations. One interpretation is that experts might have learned through prestige bias to reduce their preference for animacy, which would be consistent with a prestige bias runaway process. Other interpretations include processing perceptual (dis)fluency, cognitive mastering, and identity signaling. Irrespective of the precise roles of these compatible processes, the results might point to a more general expertise-dependent pattern. We close by discussing further research opportunities to further fine-tune possible explanations.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42740102","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 : 2023-04-04DOI: 10.1177/02762374231163483
Emanuele Castano, Jessica Zanella, Fatemeh Saedi, Lisa Zunshine, L. Ducceschi
Research findings in cognitive literary studies show that lifetime exposure to literary versus popular fiction has a differential association with social cognition processes such as psychological essentialism, attributional complexity, and, particularly, with Theory of Mind. Experimental findings further show that brief exposure to literary, but not popular fiction, boosts performance on Theory of Mind. These results are interpreted as stemming from the greater complexity of the characters and plots of literary fiction; a claim that is consistent with evidence that readers view literary fiction characters as more complex than popular fiction characters. Here we focus on style, and test whether said differential complexity finds a parallel in the language of these two types of fiction. Results of Natural Language Processing analyses on a corpus of literary and popular fiction texts confirm that literary fiction has greater lexical and syntax complexity than popular fiction.
{"title":"On the Complexity of Literary and Popular Fiction","authors":"Emanuele Castano, Jessica Zanella, Fatemeh Saedi, Lisa Zunshine, L. Ducceschi","doi":"10.1177/02762374231163483","DOIUrl":"https://doi.org/10.1177/02762374231163483","url":null,"abstract":"Research findings in cognitive literary studies show that lifetime exposure to literary versus popular fiction has a differential association with social cognition processes such as psychological essentialism, attributional complexity, and, particularly, with Theory of Mind. Experimental findings further show that brief exposure to literary, but not popular fiction, boosts performance on Theory of Mind. These results are interpreted as stemming from the greater complexity of the characters and plots of literary fiction; a claim that is consistent with evidence that readers view literary fiction characters as more complex than popular fiction characters. Here we focus on style, and test whether said differential complexity finds a parallel in the language of these two types of fiction. Results of Natural Language Processing analyses on a corpus of literary and popular fiction texts confirm that literary fiction has greater lexical and syntax complexity than popular fiction.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46369964","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 : 2023-03-16DOI: 10.1177/02762374231163481
César González-Martín, Miguel Carrasco, Thomas Gustavo Wachter Wielandt
This research is framed within the study of automatic recognition of emotions in artworks, proposing a methodology to improve performance in detecting emotions when a network is trained with an image type different from the entry type, which is known as the cross-depiction problem. To achieve this, we used the QuickShift algorithm, which simplifies images’ resources, and applied it to the Open Affective Standardized Image (OASIS) dataset as well as the WikiArt Emotion dataset. Both datasets are also unified under a binary emotional system. Subsequently, a model was trained based on a convolutional neural network using OASIS as a learning base, in order to then be applied on the WikiArt Emotion dataset. The results show an improvement in the general prediction performance when applying QuickShift (73% overall). However, we can observe that artistic style influences the results, with minimalist art being incompatible with the methodology proposed.
{"title":"Detection of Emotions in Artworks Using a Convolutional Neural Network Trained on Non-Artistic Images: A Methodology to Reduce the Cross-Depiction Problem","authors":"César González-Martín, Miguel Carrasco, Thomas Gustavo Wachter Wielandt","doi":"10.1177/02762374231163481","DOIUrl":"https://doi.org/10.1177/02762374231163481","url":null,"abstract":"This research is framed within the study of automatic recognition of emotions in artworks, proposing a methodology to improve performance in detecting emotions when a network is trained with an image type different from the entry type, which is known as the cross-depiction problem. To achieve this, we used the QuickShift algorithm, which simplifies images’ resources, and applied it to the Open Affective Standardized Image (OASIS) dataset as well as the WikiArt Emotion dataset. Both datasets are also unified under a binary emotional system. Subsequently, a model was trained based on a convolutional neural network using OASIS as a learning base, in order to then be applied on the WikiArt Emotion dataset. The results show an improvement in the general prediction performance when applying QuickShift (73% overall). However, we can observe that artistic style influences the results, with minimalist art being incompatible with the methodology proposed.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47994744","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 : 2023-03-13DOI: 10.1177/02762374221143728
Emery Schubert
The emotions that can be considered members of the set of Aesthetic Emotions (AEs) is controversial. The present study investigated the terms used by researchers in peer reviewed studies to exemplify AEs. 100 publications from 2000–2019 exemplifying AE terms were located to produced 111 AEs which were proposed as the basis of an AE lexicon. Awe, (being) moved and wonder were reliable members and without contradiction. One fifth were negatively valenced (e.g., anger, disgust), suggesting that the presence of negative AEs is generally accepted but not reliably. One quarter of the entries were also non-AEs and an additional 20 were exclusively so, producing a total of 131 terms. The lexicon is a concrete, dynamic set of examples against which to investigate extant definitions of AEs and to further develop theory. The robust presence of three terms suggests that calls to abandon the concept of AE may be premature.
{"title":"The Aesthetic Emotion Lexicon: A Literature Review of Emotion Words Used by Researchers to Describe Aesthetic Experiences","authors":"Emery Schubert","doi":"10.1177/02762374221143728","DOIUrl":"https://doi.org/10.1177/02762374221143728","url":null,"abstract":"The emotions that can be considered members of the set of Aesthetic Emotions (AEs) is controversial. The present study investigated the terms used by researchers in peer reviewed studies to exemplify AEs. 100 publications from 2000–2019 exemplifying AE terms were located to produced 111 AEs which were proposed as the basis of an AE lexicon. Awe, (being) moved and wonder were reliable members and without contradiction. One fifth were negatively valenced (e.g., anger, disgust), suggesting that the presence of negative AEs is generally accepted but not reliably. One quarter of the entries were also non-AEs and an additional 20 were exclusively so, producing a total of 131 terms. The lexicon is a concrete, dynamic set of examples against which to investigate extant definitions of AEs and to further develop theory. The robust presence of three terms suggests that calls to abandon the concept of AE may be premature.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42608215","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 : 2023-03-13DOI: 10.1177/02762374231160000
Corinna Kühnapfel, Joerg Fingerhut, Hanna Brinkmann, Victoria Ganster, Takumi Tanaka, Eva Specker, Jan Mikuni, Florian Güldenpfennig, A. Gartus, R. Rosenberg, Matthew Pelowski
Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.
{"title":"How Do We Move in Front of Art? How Does This Relate to Art Experience? Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting","authors":"Corinna Kühnapfel, Joerg Fingerhut, Hanna Brinkmann, Victoria Ganster, Takumi Tanaka, Eva Specker, Jan Mikuni, Florian Güldenpfennig, A. Gartus, R. Rosenberg, Matthew Pelowski","doi":"10.1177/02762374231160000","DOIUrl":"https://doi.org/10.1177/02762374231160000","url":null,"abstract":"Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45922968","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 : 2023-03-07DOI: 10.1177/02762374231152775
Jeehyun Joung, Jeounghoon Kim
Aesthetic appreciation of dance is associated with external components of physical features and audiences’ subjective aspects, which can be explained by cross-modal integration. In this study, we designed aesthetic appraisal tasks measured on a 5-point Likert scale by manipulating audiovisual combinations of dance movements and musical properties to measure novices and experts’ interest appraisals. Using statistical analyses and psychometric curve fitting, we found that novices judged that variations in travel patterns on stage and moving the entire body were interesting. In contrast, experts judged that the variation in the dancer's upper body parts synchronized only with the time signature was interesting. Accordingly, while novices had a low interest decision threshold for dancing across the stage and a high range of body configurations, experts had a high threshold for those cases. Overall, only experts had the ability to integrate audiovisual contents to appreciate the aesthetic values in dance movements.
{"title":"Comparison of Audiovisual Components of Dance in Novices and Experts’ Aesthetic Interest Perceptions","authors":"Jeehyun Joung, Jeounghoon Kim","doi":"10.1177/02762374231152775","DOIUrl":"https://doi.org/10.1177/02762374231152775","url":null,"abstract":"Aesthetic appreciation of dance is associated with external components of physical features and audiences’ subjective aspects, which can be explained by cross-modal integration. In this study, we designed aesthetic appraisal tasks measured on a 5-point Likert scale by manipulating audiovisual combinations of dance movements and musical properties to measure novices and experts’ interest appraisals. Using statistical analyses and psychometric curve fitting, we found that novices judged that variations in travel patterns on stage and moving the entire body were interesting. In contrast, experts judged that the variation in the dancer's upper body parts synchronized only with the time signature was interesting. Accordingly, while novices had a low interest decision threshold for dancing across the stage and a high range of body configurations, experts had a high threshold for those cases. Overall, only experts had the ability to integrate audiovisual contents to appreciate the aesthetic values in dance movements.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48673585","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 : 2023-02-27DOI: 10.1177/02762374231158520
Eugene Han
In the context of rapidly developing technologies and widespread online access, it is important to understand how our perception of images on a computer screen may vary from traditional in-person encounters. This research compared the perception of subjects in view of eight paintings, presented either on a computer monitor or as a printed reproduction. Both stationary and mobile eye-tracking technologies were used to analyze the viewing patterns of both forms of engagement. Results suggested that subjects engaging with physical works tended to exhibit more varied fixational patterns than those viewing the same works on a computer monitor. Data showed parity in the high degree of correlation between viewing times and personal preference, regardless of viewing medium. The results indicate that the modalities through which we engage with works of art matter, and that a single image can resonate across an array of media.
{"title":"Comparing the Perception of In-Person and Digital Monitor Viewing of Paintings","authors":"Eugene Han","doi":"10.1177/02762374231158520","DOIUrl":"https://doi.org/10.1177/02762374231158520","url":null,"abstract":"In the context of rapidly developing technologies and widespread online access, it is important to understand how our perception of images on a computer screen may vary from traditional in-person encounters. This research compared the perception of subjects in view of eight paintings, presented either on a computer monitor or as a printed reproduction. Both stationary and mobile eye-tracking technologies were used to analyze the viewing patterns of both forms of engagement. Results suggested that subjects engaging with physical works tended to exhibit more varied fixational patterns than those viewing the same works on a computer monitor. Data showed parity in the high degree of correlation between viewing times and personal preference, regardless of viewing medium. The results indicate that the modalities through which we engage with works of art matter, and that a single image can resonate across an array of media.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42728585","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 : 2023-02-27DOI: 10.1177/02762374231159999
H. Ahn
Research on text analysis has demonstrated that texts can reveal various characteristics of individuals, such as personality, preferences, or future behavior. However, despite its numerous applications in other fields, text analysis has received very little attention in the field of empirical aesthetics. This study aimed to analyze texts written about artworks and examine the relationship between certain demographic factors and the use of words, using a novel framework for computer-based text analysis based on neural embedding. Participants provided textual descriptions of paintings from various genres and eras, along with demographic information such as gender, age, income, frequency of museum visits, and knowledge of artworks. The results revealed a significant relationship between some demographic factors and word usage, while also highlighting the usefulness of the proposed framework.
{"title":"The Influence of Demographic Factors on Word Usage in Texts Written About Artworks","authors":"H. Ahn","doi":"10.1177/02762374231159999","DOIUrl":"https://doi.org/10.1177/02762374231159999","url":null,"abstract":"Research on text analysis has demonstrated that texts can reveal various characteristics of individuals, such as personality, preferences, or future behavior. However, despite its numerous applications in other fields, text analysis has received very little attention in the field of empirical aesthetics. This study aimed to analyze texts written about artworks and examine the relationship between certain demographic factors and the use of words, using a novel framework for computer-based text analysis based on neural embedding. Participants provided textual descriptions of paintings from various genres and eras, along with demographic information such as gender, age, income, frequency of museum visits, and knowledge of artworks. The results revealed a significant relationship between some demographic factors and word usage, while also highlighting the usefulness of the proposed framework.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44661439","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 : 2023-02-22DOI: 10.1177/02762374231158523
Can Ma, Xiaowei Dong, Junbin Wang
This study investigated whether there are any pathways by combining the five dimensions (i.e., naïve image, imagination, story, interestingness, artistry) of the painting with naïve and childlike interest complex that can unify a high artistic aesthetic value and a high market value of this type of painting. We applied children's ratings to measure the artistic aesthetic value and used auction prices to measure the market value of the paintings. The results are analyzed using the fuzzy-set qualitative comparative analysis method to identify the relevant pathways. Our findings suggest that no pathway can achieve both high artistic aesthetic value and high market value. In some pathways, the two types of values even conflict and contradict each other. Using the principle of prioritizing artistic aesthetic value and considering market value, we advocate the adoption of pathways that both achieve high artistic aesthetic value and avoid resulting in non-high market value.
{"title":"A Trade-off Between the Artistic Aesthetic Value and Market Value of Paintings With Naïve and Childlike Interest Complex","authors":"Can Ma, Xiaowei Dong, Junbin Wang","doi":"10.1177/02762374231158523","DOIUrl":"https://doi.org/10.1177/02762374231158523","url":null,"abstract":"This study investigated whether there are any pathways by combining the five dimensions (i.e., naïve image, imagination, story, interestingness, artistry) of the painting with naïve and childlike interest complex that can unify a high artistic aesthetic value and a high market value of this type of painting. We applied children's ratings to measure the artistic aesthetic value and used auction prices to measure the market value of the paintings. The results are analyzed using the fuzzy-set qualitative comparative analysis method to identify the relevant pathways. Our findings suggest that no pathway can achieve both high artistic aesthetic value and high market value. In some pathways, the two types of values even conflict and contradict each other. Using the principle of prioritizing artistic aesthetic value and considering market value, we advocate the adoption of pathways that both achieve high artistic aesthetic value and avoid resulting in non-high market value.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42027049","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 : 2023-02-16DOI: 10.1177/02762374231155746
Chuan Li, V. Coll-Serrano, P. Rausell-Köster
Innovation in arts and cultural sectors is an emerging study. Exploring and identifying driving factors of innovation by arts and cultural organizations can help to understand the implications for innovation management and thus, strengthening the competitiveness of arts and cultural sectors. But the existing literature on this topic usually is subject to some limitations due to the shortage of empirical evidence and overemphasis on technological innovation. To overcome it, this article explored evidence-based determinants of innovation in museums organizations, based on survey data and statistical approach; furthermore, it also extended the scope of innovation from technological to cultural and organizational dimensions. Our findings provide empirical evidence for existing theoretical propositions—some propositions are supported and the others are not. Based on these conclusions, some implications are developed for innovation management in museum organizations.
{"title":"Exploring the Evidence-Based Driving Factors of Innovation in Arts and Cultural Organizations","authors":"Chuan Li, V. Coll-Serrano, P. Rausell-Köster","doi":"10.1177/02762374231155746","DOIUrl":"https://doi.org/10.1177/02762374231155746","url":null,"abstract":"Innovation in arts and cultural sectors is an emerging study. Exploring and identifying driving factors of innovation by arts and cultural organizations can help to understand the implications for innovation management and thus, strengthening the competitiveness of arts and cultural sectors. But the existing literature on this topic usually is subject to some limitations due to the shortage of empirical evidence and overemphasis on technological innovation. To overcome it, this article explored evidence-based determinants of innovation in museums organizations, based on survey data and statistical approach; furthermore, it also extended the scope of innovation from technological to cultural and organizational dimensions. Our findings provide empirical evidence for existing theoretical propositions—some propositions are supported and the others are not. Based on these conclusions, some implications are developed for innovation management in museum organizations.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":null,"pages":null},"PeriodicalIF":1.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42804247","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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