Pub Date : 2021-03-23DOI: 10.1177/02762374211001800
Ernesto Monroy, Toshie Imada, N. Sagiv, Guido Orgs
Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.
{"title":"Dance Across Cultures: Joint Action Aesthetics in Japan and the UK","authors":"Ernesto Monroy, Toshie Imada, N. Sagiv, Guido Orgs","doi":"10.1177/02762374211001800","DOIUrl":"https://doi.org/10.1177/02762374211001800","url":null,"abstract":"Western European and East Asian cultures show marked differences in aesthetic appreciation of the visual arts. East Asian aesthetics are often associated with a holistic focus on balance and harmony, in contrast to Western aesthetics, which often focus on the expression of the individual. In this study, we examined whether cultural differences also exist in relation to the aesthetics of dance. Japanese and British participants completed an online survey in which they evaluated synchronous and asynchronous dance video clips on eight semantic differential scales. We observed that the aesthetics of group dance depend on cultural background. Specifically, British participants preferred asynchronous over synchronous dance whereas Japanese participants equally liked synchronous and asynchronous dance movement. For both cultures, preferences were based on distinct semantic associations with movement synchrony. We argue that cultural differences in aesthetic perception of group dance relate to the culturally specific social signals conveyed by unison movement.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"209 - 227"},"PeriodicalIF":1.5,"publicationDate":"2021-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/02762374211001800","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49281150","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 : 2021-03-17DOI: 10.1177/02762374211001798
F. Felisberti
In folk psychology experiences of ugliness are associated with the negation of beauty and disorder, but empirical evidence is remarkably rare. Here, participants (called informed) took 102 photographs of ugly landscapes and urban scenes and reflected on their experiences. Later, participants naïve to the intentional ugliness in the photographs rated landscapes higher than informed participants. The ratings for urban scenes were similar in the two cohorts. Reflective notes revealed that emotional experiences with visual ugliness could overlap (e.g. decay), but ugliness was associated more frequently with fear and death in landscapes, and with sadness and disgust in urban scenes. The findings uncovered a complex layer of associations. Experiences triggered by perceived ugliness were contingent on a composite of socio-cultural, emotional, and evolutionary factors. Rather than being the endpoint on an aesthetic scale culminating with beauty, ugliness seems to be experienced as an independent aesthetic experience with its own processing streams.
{"title":"Experiences of Ugliness in Nature and Urban environments","authors":"F. Felisberti","doi":"10.1177/02762374211001798","DOIUrl":"https://doi.org/10.1177/02762374211001798","url":null,"abstract":"In folk psychology experiences of ugliness are associated with the negation of beauty and disorder, but empirical evidence is remarkably rare. Here, participants (called informed) took 102 photographs of ugly landscapes and urban scenes and reflected on their experiences. Later, participants naïve to the intentional ugliness in the photographs rated landscapes higher than informed participants. The ratings for urban scenes were similar in the two cohorts. Reflective notes revealed that emotional experiences with visual ugliness could overlap (e.g. decay), but ugliness was associated more frequently with fear and death in landscapes, and with sadness and disgust in urban scenes. The findings uncovered a complex layer of associations. Experiences triggered by perceived ugliness were contingent on a composite of socio-cultural, emotional, and evolutionary factors. Rather than being the endpoint on an aesthetic scale culminating with beauty, ugliness seems to be experienced as an independent aesthetic experience with its own processing streams.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"192 - 208"},"PeriodicalIF":1.5,"publicationDate":"2021-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/02762374211001798","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241851","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 : 2021-02-25DOI: 10.1177/0276237421994694
Robert R. Clewis, D. Yaden, A. Chirico
This empirical study examines how philosophical work on the sublime relates to contemporary psychological work on awe. We operationalized several aspects of the sublime drawing from prominent philosophical theories and analyzed them in relation to three different measures of awe: the modified Differential Emotions Scale (mDES), the awe sub-scale of the Dispositional Positive Emotion Scale (DPES), and the Awe Experience Scale (AWE-S). We carried out an Exploratory Factor Analysis on our items on the sublime. We found high correlations between these items and the measures of awe, especially with the self-loss and connectedness dimensions of the AWE-S. By operationalizing aspects of the sublime drawn from influential philosophical theories and comparing them with psychological measures of awe, we find a large degree of overlap between awe and the sublime, suggesting that these two literatures could inform one another.
{"title":"Intersections Between Awe and the Sublime: A Preliminary Empirical Study","authors":"Robert R. Clewis, D. Yaden, A. Chirico","doi":"10.1177/0276237421994694","DOIUrl":"https://doi.org/10.1177/0276237421994694","url":null,"abstract":"This empirical study examines how philosophical work on the sublime relates to contemporary psychological work on awe. We operationalized several aspects of the sublime drawing from prominent philosophical theories and analyzed them in relation to three different measures of awe: the modified Differential Emotions Scale (mDES), the awe sub-scale of the Dispositional Positive Emotion Scale (DPES), and the Awe Experience Scale (AWE-S). We carried out an Exploratory Factor Analysis on our items on the sublime. We found high correlations between these items and the measures of awe, especially with the self-loss and connectedness dimensions of the AWE-S. By operationalizing aspects of the sublime drawn from influential philosophical theories and comparing them with psychological measures of awe, we find a large degree of overlap between awe and the sublime, suggesting that these two literatures could inform one another.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"143 - 173"},"PeriodicalIF":1.5,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48642901","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 : 2021-02-25DOI: 10.1177/0276237421994699
J. Friedenberg, Preston Martin, Naomi Uy, M. Kvapil
Fractals are patterns that show self-similarity at different levels of scale. Typically they appear in nature and this degree of similarity is approximate or statistical. However, artificial or exact fractals have also been studied and the advantage of these stimuli is the ability to more carefully control the relationships that occur across various hierarchies. In two experiments we studied the perceived beauty of a novel class of exact visual fractal in which we introduced reflection, rotation, translation, and random symmetries that repeated at a local and global levels. Rotation and reflection were consistently preferred to translation and randomness. Only reflected patterns were preferred at a vertical orientation. For all other symmetries there was no difference in preference between vertical and horizontal. In a second experiment we progressively eliminated the salience of local symmetry through opaque shading . Perceived beauty decreased with an increase in shading . For these patterns greater discriminability of their fractal quality makes them more aesthetically appealing.
{"title":"Judged Beauty of Fractal Symmetries","authors":"J. Friedenberg, Preston Martin, Naomi Uy, M. Kvapil","doi":"10.1177/0276237421994699","DOIUrl":"https://doi.org/10.1177/0276237421994699","url":null,"abstract":"Fractals are patterns that show self-similarity at different levels of scale. Typically they appear in nature and this degree of similarity is approximate or statistical. However, artificial or exact fractals have also been studied and the advantage of these stimuli is the ability to more carefully control the relationships that occur across various hierarchies. In two experiments we studied the perceived beauty of a novel class of exact visual fractal in which we introduced reflection, rotation, translation, and random symmetries that repeated at a local and global levels. Rotation and reflection were consistently preferred to translation and randomness. Only reflected patterns were preferred at a vertical orientation. For all other symmetries there was no difference in preference between vertical and horizontal. In a second experiment we progressively eliminated the salience of local symmetry through opaque shading . Perceived beauty decreased with an increase in shading . For these patterns greater discriminability of their fractal quality makes them more aesthetically appealing.","PeriodicalId":45870,"journal":{"name":"Empirical Studies of the Arts","volume":"40 1","pages":"100 - 120"},"PeriodicalIF":1.5,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0276237421994699","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43904498","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 : 2021-02-25DOI: 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":"40 1","pages":"57 - 80"},"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":"40 1","pages":"125 - 142"},"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":"40 1","pages":"174 - 191"},"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":"40 1","pages":"228 - 244"},"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":"40 1","pages":"81 - 99"},"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":"39 1","pages":"216 - 242"},"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}
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