Pub Date : 2022-03-11DOI: 10.1177/02762374221082505
Gabriela Durán-Barraza, Deepti Ghadiyaram, M. Peterson
Conceptual information is central to the field of artistic photography. Nonetheless, there are very few studies on the matter. Therefore, we investigated whether artist's conceptual titles affected viewers’ interest in artistic photographs. Experiment 1 showed that adding artist's conceptual titles increased both the rated liking of and interest in the photographs, whereas adding a descriptive title had no effect. For Experiment 2 participants judged the pairing of photographs with artist-generated conceptual titles as more appropriate than plausible or random pairings, supporting the view that artist's conceptual titles are an essential part of the artwork. In Experiment 3, interest was assessed by asking participants to place adjustable-size frames anywhere on the photographs. Participants selected more interest areas on photographs accompanied by conceptual titles than on those unaccompanied by titles. These findings support the hypothesis that conceptual information provided by the artist's titles increases interest and liking in photographs.
{"title":"Effects of Conceptual Titles on the Aesthetic Appreciation of Artistic Photographs","authors":"Gabriela Durán-Barraza, Deepti Ghadiyaram, M. Peterson","doi":"10.1177/02762374221082505","DOIUrl":"https://doi.org/10.1177/02762374221082505","url":null,"abstract":"Conceptual information is central to the field of artistic photography. Nonetheless, there are very few studies on the matter. Therefore, we investigated whether artist's conceptual titles affected viewers’ interest in artistic photographs. Experiment 1 showed that adding artist's conceptual titles increased both the rated liking of and interest in the photographs, whereas adding a descriptive title had no effect. For Experiment 2 participants judged the pairing of photographs with artist-generated conceptual titles as more appropriate than plausible or random pairings, supporting the view that artist's conceptual titles are an essential part of the artwork. In Experiment 3, interest was assessed by asking participants to place adjustable-size frames anywhere on the photographs. Participants selected more interest areas on photographs accompanied by conceptual titles than on those unaccompanied by titles. These findings support the hypothesis that conceptual information provided by the artist's titles increases interest and liking in photographs.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"157 - 187"},"PeriodicalIF":1.5,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45188473","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 : 2022-03-01DOI: 10.1177/02762374221084212
Erick G. Chuquichambi, Daniela Sarria, G. Corradi, E. Munar
Lines contribute to the visual experience of drawings. People show a higher preference for curved than sharp angled lines. We studied preference for curvature using drawings of commonly-used objects drawn by design students. We also investigated the relationship of that preference with drawing preference. Experiments 1 and 2 revealed preference for the curved drawings in the laboratory and web-based contexts, respectively. Experiment 3 showed that the curved drawings were also preferred to draw than the sharp-angled ones. However, this effect only appeared when the drawings were made by hand, but not when they were made by computer. We found a moderate positive correlation between liking and drawing preference. This relationship was mainly explained by the hand-made drawings. Sex, art experience and openness to experience did not influence preference for curvature. Altogether, our findings support the curvature effect and the hypothesis that people prefer to draw what they like to see.
{"title":"Humans Prefer to See and Imagine Drawing Curved Objects","authors":"Erick G. Chuquichambi, Daniela Sarria, G. Corradi, E. Munar","doi":"10.1177/02762374221084212","DOIUrl":"https://doi.org/10.1177/02762374221084212","url":null,"abstract":"Lines contribute to the visual experience of drawings. People show a higher preference for curved than sharp angled lines. We studied preference for curvature using drawings of commonly-used objects drawn by design students. We also investigated the relationship of that preference with drawing preference. Experiments 1 and 2 revealed preference for the curved drawings in the laboratory and web-based contexts, respectively. Experiment 3 showed that the curved drawings were also preferred to draw than the sharp-angled ones. However, this effect only appeared when the drawings were made by hand, but not when they were made by computer. We found a moderate positive correlation between liking and drawing preference. This relationship was mainly explained by the hand-made drawings. Sex, art experience and openness to experience did not influence preference for curvature. Altogether, our findings support the curvature effect and the hypothesis that people prefer to draw what they like to see.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"135 - 156"},"PeriodicalIF":1.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42440072","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 : 2022-02-10DOI: 10.1177/02762374211047972
Yen-Ching Lin
Although the aesthetic experience of popular illustrations is frequent in modern life, no scientific research can fully explain its psychological structure so far. This study aims to develop an aesthetic model of perception, affection, and cognition, presenting an aesthetic psychological framework for contemporary popular illustration. Thirty representative illustrations were selected as experimental stimuli from design media, and a seven-point scale with 10 paired adjectives of underlying psychological factors was built by analyzing systematic aesthetic researches by literature review. A total of 386 volunteers were recruited for the experimental survey. Confirmatory factor analysis (CFA) through structural equation modeling (SEM) was used to confirm the proposed model. The results showed that beauty, pleasure, and interestingness are the optimum indicators measuring the aesthetic experience of popular illustrations, and instead of the underlying meanings, the positive self-rewarding quality makes aesthetic experience of popular illustrations special.
{"title":"An Aesthetic Model for Popular Illustration","authors":"Yen-Ching Lin","doi":"10.1177/02762374211047972","DOIUrl":"https://doi.org/10.1177/02762374211047972","url":null,"abstract":"Although the aesthetic experience of popular illustrations is frequent in modern life, no scientific research can fully explain its psychological structure so far. This study aims to develop an aesthetic model of perception, affection, and cognition, presenting an aesthetic psychological framework for contemporary popular illustration. Thirty representative illustrations were selected as experimental stimuli from design media, and a seven-point scale with 10 paired adjectives of underlying psychological factors was built by analyzing systematic aesthetic researches by literature review. A total of 386 volunteers were recruited for the experimental survey. Confirmatory factor analysis (CFA) through structural equation modeling (SEM) was used to confirm the proposed model. The results showed that beauty, pleasure, and interestingness are the optimum indicators measuring the aesthetic experience of popular illustrations, and instead of the underlying meanings, the positive self-rewarding quality makes aesthetic experience of popular illustrations special.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"108 - 134"},"PeriodicalIF":1.5,"publicationDate":"2022-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41350862","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 : 2022-02-03DOI: 10.1177/02762374221118528
Katherine N. Cotter, D. Crone, J. Pawelski
People visit art museums for many reasons—to see something beautiful or famous, to learn more about art, or to experience a sense of awe. Recently, there has been increased interest in how art museum engagement can promote flourishing. Little is known, however, about how the professionals shaping these art museum experiences (e.g., curators, educators, front of house staff) view art museums as institutions that can promote flourishing outcomes. In the present research, we examined the perceptions of 208 art museum professionals regarding the functions of art museums and their ability to impact both well-being (e.g., empathy, self-acceptance) and ill-being (e.g., anxiety, loneliness) factors. The findings suggest that art museum professionals feel that the well-being of visitors should be emphasized as a goal more strongly than it currently is, and that there are some well-being and ill-being components (e.g., empathy, helping, closed-mindedness) that should receive greater attention than others.
{"title":"Flourishing Aims of Art Museums: A Survey of Art Museum Professionals","authors":"Katherine N. Cotter, D. Crone, J. Pawelski","doi":"10.1177/02762374221118528","DOIUrl":"https://doi.org/10.1177/02762374221118528","url":null,"abstract":"People visit art museums for many reasons—to see something beautiful or famous, to learn more about art, or to experience a sense of awe. Recently, there has been increased interest in how art museum engagement can promote flourishing. Little is known, however, about how the professionals shaping these art museum experiences (e.g., curators, educators, front of house staff) view art museums as institutions that can promote flourishing outcomes. In the present research, we examined the perceptions of 208 art museum professionals regarding the functions of art museums and their ability to impact both well-being (e.g., empathy, self-acceptance) and ill-being (e.g., anxiety, loneliness) factors. The findings suggest that art museum professionals feel that the well-being of visitors should be emphasized as a goal more strongly than it currently is, and that there are some well-being and ill-being components (e.g., empathy, helping, closed-mindedness) that should receive greater attention than others.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"52 - 79"},"PeriodicalIF":1.5,"publicationDate":"2022-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49218995","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 : 2022-01-17DOI: 10.1177/02762374211072964
Francesco Angelini, Massimiliano Castellani, Pierpaolo Pattitoni
Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market.
{"title":"Artist Names as Human Brands: Brand Determinants, Creation and co-Creation Mechanisms","authors":"Francesco Angelini, Massimiliano Castellani, Pierpaolo Pattitoni","doi":"10.1177/02762374211072964","DOIUrl":"https://doi.org/10.1177/02762374211072964","url":null,"abstract":"Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"80 - 107"},"PeriodicalIF":1.5,"publicationDate":"2022-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41731516","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 : 2021-12-16DOI: 10.1177/02762374211059460
D. Omigie, Jessica Ricci
Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.
{"title":"Curiosity Emerging From the Perception of Change in Music","authors":"D. Omigie, Jessica Ricci","doi":"10.1177/02762374211059460","DOIUrl":"https://doi.org/10.1177/02762374211059460","url":null,"abstract":"Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"296 - 316"},"PeriodicalIF":1.5,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42618630","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 : 2021-12-15DOI: 10.1177/02762374221104059
María Jesús Cano-Martínez, Miguel Carrasco, Joaqu'in Sandoval, C'esar Gonz'alez-Mart'in
Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed.
{"title":"Quantitative Analysis of Visual Representation of Sign Elements in COVID-19 Context","authors":"María Jesús Cano-Martínez, Miguel Carrasco, Joaqu'in Sandoval, C'esar Gonz'alez-Mart'in","doi":"10.1177/02762374221104059","DOIUrl":"https://doi.org/10.1177/02762374221104059","url":null,"abstract":"Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"41 1","pages":"31 - 51"},"PeriodicalIF":1.5,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46417863","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 : 2021-11-29DOI: 10.1177/02762374211047971
Christiana Iordanou, M. Allen, L. Warmelink
This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews.
{"title":"Drawing and Memory: What is the Content of Children’s Drawings and How Does it Differ From Their Verbal Reports?","authors":"Christiana Iordanou, M. Allen, L. Warmelink","doi":"10.1177/02762374211047971","DOIUrl":"https://doi.org/10.1177/02762374211047971","url":null,"abstract":"This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"245 - 258"},"PeriodicalIF":1.5,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43114522","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 : 2021-11-20DOI: 10.1177/02762374211047973
R. Brisson, R. Bianchi
Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness.
{"title":"Aesthetic Disposition, Educational Capital, Personality Trait Openness, and Sex: A Study of French High-School Students","authors":"R. Brisson, R. Bianchi","doi":"10.1177/02762374211047973","DOIUrl":"https://doi.org/10.1177/02762374211047973","url":null,"abstract":"Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"259 - 274"},"PeriodicalIF":1.5,"publicationDate":"2021-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47485262","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：