Psychology Of Art Research Articles

Emotional Dimensions of Music and Painting and their Interaction.

Usually it is accepted that human manifestations such as music or painting share a common artistic trait. However, very little is known about the genetic, behavioral, developmental and neurobiological basis of such a musical-pictorial "universal". In an attempt to approach commonalities and differences between the psychology of music and pictorial art in Experiment 1 we investigated the emotional dimensions valence and arousal in a large sample (N =156, M age = 21,44 years, SD = 3,89 years, range = 16-35 years) using a representative selection of musical and pictorial artistic stimuli. We found a stronger variability of valence and arousal with paintings and stronger effects of music on valence. In Experiment 2 (N =202, M age = 21,35 years, SD = 3,57 years, range = 16-35 years) we present first quantitative data on the interaction between the two artistic categories of stimuli on a behavioral level, again observing effects of pictorial art and music on valence and arousal. Furthermore in Experiment 2 we replicated a more pronounced effect of music on the valence of pictures, particularly on positive valence the results of the ANOVA showed an increase in group A2: F(1, 120) = 6.23, p < .05, in group C2: F(1, 120) = 89.03, p < .001, and a surprisingly emotionally negative influence of pleasant paintings on the positive valence of music, group A1: F(1, 127) = 19.69, p < .001. Despite the unresolved problem of non-representativeness of the stimuli and the sample selected these results may suggest superior emotional "power" of music over painting.

Aesthetic preference in the spatial composition of traditional Chinese paintings.

Aesthetic psychology has discussed many aspects of aesthetic preferences for spatial composition. However, there have been few empirical explorations of the spatial composition of traditional Chinese paintings. The results of this experiment showed that the shape of the frame had a significant effect on aesthetic preferences. Participants preferred to put two figures at certain relative horizontal distances from each other according to the horizontal shape of the frame but may have difficulty in adapting the relative vertical distance according to the vertical shape of the frame. Furthermore, the unique aesthetic interest of traditional Chinese long-vertical scroll paintings was discussed. This discussion revealed that, in a creative way, ancient Chinese artists followed the same aesthetic principles we observed, and they developed the artistic conception and romantic charm of traditional Chinese paintings.

Wagnerianos, flâneurs, hombres-masa. Los ambientes sinestésicos en la arquitectura fin-de-siècle

With its emphasis on the reciprocal influences between disciplines, as well as on the role attributed to the human senses in the perception of space, contemporary studies on inhabited “atmospheres” have a precedent barely mentioned in the relevant historiography: fin-de-siècle architecture. In France at the close of the 19th century, synaesthesia became a fashionable subject that, coming from the new psychological aesthetics, soon exceeded its original limits to reach architecture, while in Germany, the romantic notion of Gesamtkunstwerk found in Wagner perfor­mances a new realm for the arts to collaborate in and produce amazing, dreamlike ambiences. In parallel, synaesthetic perception became the leitmotiv of installations conceived for the multi-sensory enjoyment of the members of an incipient mass cul­ture, giving rise to architectures that were technically sophisticated but also playful: buildings for international fairs. Synaesthetic atmospheres for flâneurs, Wagnerians, and crowds were the seed of the electroacoustic pavilions by Le Corbusier, Iannis Xenakis, or Charles and Ray Eames, as well as of atmospheric integration of the arts of the kind that we would see in Jean Labatut, Charles Moore, and many of the 1950s and 1950s avant-gardes.

Affirming the Contradiction: Jungian Aesthetics, Reification, and the Shadow

This paper explores the problem of reification as manifested in the fields of art and depth psychology. By considering C. G. Jung's interpretive strategy and contrasting this with the archetypal tradition's focus on image, the author seeks to outline and expand upon some of the theoretical tensions thus implied. It is suggested that the notion of reification is directly related to Jung's concept of the shadow, and that the minimizing of ego dynamics within the archetypal tradition may expose certain aspects of this approach to question.

The historic importance of L. S. Vygotsky’s “the psychology of art” and some problems of modern psychological and pedagogical field

The article deals with the importance of L. S. Vygotsky’s paper “The Psychology of Art” in the present time. The shortage of ideal values is the reality of this time that in a certain way arises the issues of children and young people’s cultural evolution. Cultural and historic theory of L. S. Vygotsky touches this problem in a special way. It is the influence of art and culture, psychological and pedagogical processes that is a key element of the personality’s evolution. L. S. Vygotsky’s approach that appeared at a historic period of disturbances in the Soviet state is a fructiferous tree. This tree has a special branch that is an ethical choice between the good and evil.

Research Productivity and Performance of Journals in the Creativity Sciences: A Bibliometric Analysis

A bibliometric approach was employed to analyze the research productivity and performance of creativity studies between 1965 and 2012. A dataset was constructed using all publications and citations retrieved from four key journals that publish creativity research: Journal of Creative Behavior (JCB), Gifted Child Quarterly (GCQ), Creativity Research Journal (CRJ), and Psychology of Aesthetics, Creativity, and the Arts (PACA). Major findings in this study include: (a) During the study period, the four journals have published 1,891 articles on creativity and they have been cited 11,709 times; (b) the impact factors of the four journals increased from lower than .50 in 2002 to over 1.0 in 2012; in 2012 PACA had the highest impact factor, followed by CRJ; (c) JCB published the most creativity papers and CRJ had the most citations; (d) about a third of the articles published in the four journals have never been cited. Implications for the field of creativity are discussed.

The Reconciliation of Art and Psychology

AbstractThe disciplines of art and experimental psychology share a number of interesting areas of overlap which are unknown and/or unconsidered by many. This purpose of this article is to elucidate topics that are of interest to both artists and psychologists in an attempt to encourage interdisciplinary collaborations. It is only on rare occasions that artists and psychologists engage in collaborative research efforts, however; here I discuss a number of topics in psychology (e.g. attention, expertise, object perception and mental representations) that would be of interest to both disciplines. The concepts that are often taught in the art studio can provide unique insight into perceptual processes that play a role in the creation and evaluation of art. However, collaborative research efforts are necessary better to understand these perceptual processes. Thus, the product of collaborative research in such areas can inform art education and psychology to mutual benefit. This article discusses topics of interest for art and psychology and poses possible research questions that can be investigated via artist–psychologist collaborations.

L’estetica dimenticata: la vicenda della scuola di Graz

The essay gives an account of the aesthetics of the Graz school, focusing on the standpoint of the object as well as on that of emotions. Meinong’s reflection on aesthetics stems from a psychological background and comes subsequently to an ontological grounding. After examining the notions of imagination, phantasy-representation, relation and complexion, I show how the theory of production of representations, as well as that of higher-order objects, develops under the impulse of Ehrenfels’ concept of Gestalt qualities; both these theories may be applied to aesthetics in the explanation of artistic creation and of aesthetic objects. Meinong identifies the specific object of aesthetics with the “objective” and distinguishes aesthetic feelings, which are true feelings, from imaginary ones. Witasek develops a psychological aesthetics built on the conceptual framework of Meinongian philosophy: aesthetic properties are ideal and extra-objective, they connect the aesthetic object to the subject’s mental attitude; an aesthetic object is an object endowed with aesthetic properties, such as beauty, which depends on the degree of pleasure or displeasure the object may induce in the subject. Witasek, though, parts from Meinong on both the conception of aesthetic objects and of imaginary feelings. In the last sections, I review the reactions to Witasek’s aesthetics, both positive and negative, within the Graz school itself (in particular Schwarz’ and Saxinger’s ideas on phantasy-feelings, and Ameseder’s on value beauty), and I sketch Ehrenfels’ and Veber’s aesthetic views.

Welcoming Quality in Non-Significance and Replication Work, but Moving Beyond the p-Value

The self-correcting nature of psychological and educational science has been seriously questioned. Recent special issues of Perspectives on Psychological Science and Psychology of Aesthetics, Creativity, and the Arts have roundly condemned current organizational models of research and dissemination and have criticized the perverse incentive structure that tempts researchers into generating and publishing false positive findings. At the same time, replications are rarely attempted, allowing untruths to persist in the literature unchallenged. In this article, the editors of the Journal of Advanced Academics consider this situation and announce new policies for quantitative submissions. They are (a) an explicit call for replication studies; (b) new instructions directing reviewers to base their evaluation of a study’s merit on the quality of the research design, execution, and written description, rather than on the statistical significance of its results; and (c) an invitation to omit statistical hypothesis tests in favor of reporting effect sizes and their confidence limits.

Teachers, Arts Practice and Pedagogy

What are possible overlaps between arts practice and school pedagogy? How is teacher subjectivity and pedagogy affected when teachers engage with arts practice, in particular, theatre practices? We draw on research conducted into the Learning Performance Network (LPN), a project that involved school teachers working with the Royal Shakespeare Company and the University of Warwick. The aim of the commissioned research was to look at the effects on teacher development, focusing on the active rehearsal room pedagogic techniques and ensemble methods of exploring Shakespearean text and performance. The practices of working as an ensemble through rehearsal room pedagogy were central to the LPN. Our interest is in looking for possible shifts in teachers’ subjectivity, their self-perception. What affordances, limitations, accommodations and tensions are experienced by the teachers in transposing work from the rehearsal room to the classroom? We draw on a range of cultural theories that provide complementary perspectives on aspects of subjectivity; these include Vygotskian approaches to the psychology of art and acting. Raymond Williams’s work on the ‘dramatized society’ and Jacques Rancière’s work on spectatorship and pedagogy. Data in the form of excerpts from field notes, taken in an introductory workshop where teachers worked with theatre practitioners, and from transcribed interviews with participants in the project are used to provide evidence of shifts in perspective, self-perception and pedagogic practice.

Gombrich, Art and Psychoanalysis

Ernst H. Gombrich has always shown particular attention to the psychology of art as psychology of representation (and enjoyment) of art. In addition, through his friendship with Ernst Kris, who had been a respected art historian in the staff of the Kunsthisthorisches Museum in Vienna before becoming an important psychoanalyst, Gombrich devoted some fundamental essays on the contribution of psychoanalysis to the study of art. The main novelty and the most original feature of his contribution to this field (and which cannot easily be differentiated in general theoretical terms from Kris’s one) lies in his focus on Freud’s theories on jokes and in his adherence to the concept of “controlled regression in the service of the ego” introduced by so-called Ego Psychology This allowed Gombrich not only to highlight a perfect relationship between Freud’s theoretical thinking and his conservative attitude in the field of aesthetics, but also to use psychoanalysis to underline the historical and cultural character of the processes of representation and enjoyment.

Toward avoiding an empirical march to nowhere.

As social scientists we want to make contributions that can help us better understand and possibly change the world, even if in small ways. We endeavor—in our field of psychology of aesthetics, creativity, and the arts—to understand and contribute insights into fundamental and complex aspects of the human experience. In my new role as Editor for the Journal of Creative Behavior (JCB), my editorial team and I have a unique opportunity and responsibility to support this goal. As the oldest journal dedicated to creativity research, we aim to continue the journal’s legacy as one of the primary outlets where scholars turn to share their contributions. We also hope to do our part to ensure that the work published in our journal is meaningful and of the highest quality. Now is as exciting a time as ever to be a scholar who studies aesthetics, creativity, and the arts. Our field is burgeoning with activity. It seems timely, therefore, that Makel’s (2014) article calls us to start taking stock of where we are and how we might better ensure that our efforts are headed in meaningful directions. The task that Makel sets for us is to reflect on how our “empirical march” toward understanding is impeded by bias and error in the research we conduct and in the norms of disseminating our work. He points out common pitfalls that can result in bias and error and offers suggestions aimed at establishing a more unified approach for addressing these problems. Makel’s article represents a potentially important catalyst for our field. Beyond sparking initial conversations and responses in this issue of Psychology of Aesthetics, Creativity, and the Arts, his article may pay out in helping initiate changes that can improve and strengthen the knowledge we generate through our scholarly efforts. In order for this to happen, however, I believe we need to zoom out a bit and reflect on the broader terrain of our scholarly endeavors. Makel meets us at a specific juncture in our scholarly effort: the deductive and (dis)confirmatory phase of our work. It is there that he couches his arguments. His ultimate aim is to “increase the tempo of our march by decreasing bias and error and increasing understanding about generalizability and boundary conditions of constructs.” To be sure, without shoring up our confirmatory efforts our progress will be slowed. However, aiming to increase the tempo of

An Educational Bridge across the Cultural Divide: Teaching Art to Science Students and Science to Art Students

two cultures divide between art and science remains a problem, and it is aggravated by an educational system that compartmentalizes programs of study. Thus a course that focuses on the connection between art and science is a useful corrective. I have had extensive personal experience teaching such an unusual course, The Psychology of Art and Creativity, which is offered as a valid elective for both science and art majors. My experience is that both groups gain a much greater understanding and appreciation of each other's chosen field of endeavour. It is important in such a course to include exposure to actual artworks in every genre, rather than primarily focusing on criticism and analysis. Personal subjective opinions have to be more openly welcomed than in the traditional academic approach, while making a clear distinction between personal preference and objective judgment. One useful pedagogical tool is an informal reflective journal where students write as much, or as little, as they want about each of the class themes. Also useful are online discussion forums where students can bounce ideas off of each other and share their enthusiasms.

Psychology and culturology: A means of cooperating and problems associated with cooperation

For ages, has been fruitfully cooperating with various cultural studies (the name given to humanities after a well-known book by G. Rikkert), ranged from philosophy to linguistics and ethnology, and from history and anthropology to aesthetics. Modern psychology started with L. S. Vygotsky and his school, and notion and idea of culture are considered to be school's basic concepts. ideas of Vygotsky and his disciples A.N. Leontiev and A.R. Luria were further developed not only in Russian but also worldwide, by American cultural-historical psychologist D. Brunner, M. Cole, S. Scribner, and M. Tomacello. flectedinfluence of on culture studies was first documented in late 19th century. V. Dilthey's psychology-inspired philosophy and literature studies, g. Zimmel's sociology, A. Potebnya and D. Ovsyaniko-Kulikovsky's psychological aesthetics and literature studies in Russia, and overwhelming Freudian as well as neo-Freudian impacts on all humanities also testify to these ideas.In twentieth century, culturology appeared as a science of culture, where culture means an organized wholeness (system), its general (systemic) properties, as well as its laws and variations. birth of culturology was historically and genetically related to a whole system of cultural studies, and marked a new level of understanding culture and its components. Further work on this sophisticated phenomenon integrated characteristic features of both social and individual human existence. Despite controversial present-day status of culturology, its presence has far-reaching consequences for entire system of social and anthropological studies, among them. But with its corpus of knowledge and approaches is equally essential for culturological thought.This article is aimed at analyzing synergetic relationship between and culturology alongside prospects for using this knowledge to relate Man and society.Let us start with a fundamental point for our consideration. What objectively binds with culturology? What constitutes basis for their cooperation ?Culturology and are objective multilateral relationships, complex mutual determination of main system objects (culture and psychic reality of human beings) builds a foundations for this cooperation. Every macro object is indeed [1] universal in terms of human world, albeit in different ways. Culture comprises a wide range of modalities and substrates; it is closely interlocked and fused with all forms and manifestations of social life and experience of particular individuals without exception, whereas the is a specific, mono- substrate, it has its own qualitative limitations, which means it is localized. The itself acts as one of culture's substrates and specifies particular ways in which it exists: ideal and mental. But these differences in ontological perspective, diversity and quality cannot eliminate psyche's integrity and unalienatedness regarding universe-continuum of social and cultural existence, and this allows both and culture to be treated as attributes of human society. Thus, relationship between culture and present relationship between two attributes which are fundamentally important for Man and his world's realities. Hence, resulting point is attribute/fundamental character of culture-psyche/the psychological relationship, which in itself is basis for our consideration.The interrelationship between culture and can be expressed in T. Dobzhanskiy's words, though he spoke of man's biology (you may use psyche instead): ...trying to understand man's biology while neglecting cultural influences is as useless as attempting to interpret culture's genesis and rise without knowing biological nature of Man(Cole, 1997, 191). …

Gąsienice i motyle. O równoczesności pojęcia Pathosformel Aby’ego Warburga i engramu Richarda Semona

Esej analizuje powinowactwa koncepcji pamięci stworzonych przez Richarda Semona i Aby Warburga oraz problematyzuje relację pomiędzy dwoma wyłaniającymi się równolegle dziedzinami wiedzy - historią sztuki i psychologią.

Alexithymia and Affect Intensity of Fine Artists

AbstractResearch on creative artists has examined mainly their personality traits or cognitive abilities. However, it seems important to explore also their emotional traits to complete the profile. This study examines two emotional characteristics: alexithymia and affect intensity. Even if most research suggests that artists are less alexithymic and experience more intensively their emotions, Botella, M., Zenasni, F., and Lubart, T. (Psychology of Aesthetics, Creativity, and the Arts, 5, 251, 2011) observed that art students were as alexithymic as psychology students and more alexithymic than a normative population. The aim of this study was to examine these issues with artists and non‐artists and to compare artists to art students. Results indicate that artists are less alexithymic and present higher affect intensity than non‐artists. Moreover, results show that art students present more difficulties processing their emotions than artists.

The Psychology of Art

Eisenstein begins his article with the basic problem of all forms of art: how is theme or content changed from an object of reality into an object of art and what is the secret of the method of art? The rest of his presentation gives examples of different art forms to show how reality is transformed into art. Cinema has a special status among arts because best films “are larger than life.”

At the Intersection of Nervous System and Soul. Observation and Its Limits in Late 19th-Century Psychological Aesthetics

The article discusses a problem of observation that arises in the wake of a psychological “turn” in late 19th-century German aesthetics. This problem results from a confluence of two factors: a) the new theoretical claim that any form of aesthetic experience is to be explained as the effect of physiological and psychological processes that need to be studied empirically; and b) the methodological crux that the “crossing point” of nervous system and soul—the link between the two levels of neuronal activity and conscious mental states—remains a blind spot that can be accessed neither by means of objective measurement nor through subjective introspection. Pursuing the ways in which scholars like Friedrich Theodor Vischer and Theodor Lipps address this observational gap, the article analyzes how “psychological aesthetics” comes to turn on increasingly self-reflexive strategies of linguistic figuration—strategies that serve to model psycho-physiological causality as a mechanism of metaphorical translation.

Expression of Form on the Steel Building Design

In today's era, people have formed architectural aesthetic psychology of this age, with information technology, intelligence, and sustainable development becoming the theme of the society. The materials and construction techniques of the steel buildings have shown all kinds of expression tendencies involving extreme repeat, extreme identity of surface, overlap between complexity and simplicity, sculptural tendency and tendency to metaphor and symbolism. And these expression tendencies reflect the technical meaning in contemporary architectural form design was architectural expression basing on the social psychological and adapt it.

Research to practice: The TTAP Method® a new psychology of art, brain and cognition

Research to practice: The TTAP Method® a new psychology of art, brain and cognition