Psychology Of Art Research Articles

Construction of an Intelligent Arrangement Model for Vocal Music Based on HPC Cluster Programming

We model in this paper the HPC cluster programming structure and perform a multidimensional computational analysis to design a vocal intelligent arrangement model based on HPC cluster programming using brilliant vocal arrangement. This paper proposes the construction scheme of the HPC interconnection simulation environment based on the full investigation of the research related to the construction of a supercomputer simulation environment at home and abroad. The rapid development of HPC technology has promoted the study of automatic music generation technology, which effectively avoids the traditional machine learning method of music. The rapid growth of HPC technology has facilitated the research of automated music generation techniques, which effectively avoids the overreliance of conventional machine learning methods on music rules and artificial design features. It achieves better results in complex music generation tasks. The key features of intelligent music arrangement are designed and implemented by summarizing the principles of converting paintings to music and then creating the rules of converting images to music and the corresponding relationships based on the theoretical basis. After the conversion rules are clarified, the specific design is carried out according to the computing process of the genetic algorithm. At the same time, the framework of the arrangement is combined with children’s aesthetic psychology; the evolutionary adaptation function is developed in combination with music theory, which finally ensures the motility of the generated music.

Application of Chinese Traditional Elements in Furniture Design Based on Wireless Communication and Artificial Intelligence Decision

The traditional elements in Chinese classical furniture are constantly changing with the development of history and culture. It is not only quite artistic, but also has unique aesthetic value. Since the reform and opening up, Western culture has flocked into our country with the opening of the country, which has led to the blind pursuit of the aesthetic psychology of Europe and the United States, which is also more obvious in the furniture design. This kind of foreign-oriented mentality has caused my country’s furniture design to stagnate or even regress in the display process of traditional cultural elements. The traditional elements contained in the furniture of people’s homes turned out to be less, and some were even completely decorated in European and American styles. This tendency shows that the recognition of traditional elements in furniture design in our country is constantly decreasing, and we must pay more attention to it. In contemporary society, wireless communication and artificial intelligence decision-making have become an important reference for people to solve complex problems and have exerted more and more influence in all fields of social life. In the contemporary era when the global economy and culture are increasingly integrated, the daily life of people in various countries is inevitably affected. Furniture is a relatively important daily necessity in residents’ homes. It has the closest contact with people’s lives. It enhances the expression of traditional elements in furniture in China and wins the recognition of many people. It has a value that cannot be ignored for our work to promote traditional culture. In contemporary furniture style design, how to better integrate traditional cultural elements, so as to achieve the dual purpose of protecting cultural heritage and improving artistic quality and enriching the expression of traditional culture in contemporary furniture, has become a topic of concern to many people. The purpose of this research is to explore how to better integrate traditional elements into contemporary furniture under the background of contemporary technologies such as wireless communication and artificial intelligence decision-making. The study obtained the public’s attitude towards the integration of traditional elements into furniture through questionnaires and judged how to innovate traditional elements through wireless communication and artificial intelligence decision-making, which would be more in line with the aesthetic concept of contemporary people.

Religious and sacred art: Recent psychological perspectives

The psychology of art has had an enormous development since the middle of the last century; however, no much work has been done in association with religious and sacred art. This paper aims to provide a brief history of the use of images in the three great monotheistic religions, i.e., Judaism, Christianity, and Islam.All three religions have been influenced by the commandment (Exodus, 20:4), which prohibits idolatry. Nevertheless, when it comes to the use of images with religious content, the commandment is interpreted differently by the three. If in Judaism and Islam the use of images is not particularly widespread and is bound to precise conditions, in Christianity a strong relationship with the visual arts has developed, at least until the Reformation. After this split, the use of images was only encouraged by the Catholic Church even though, with the Enlightenment, religious and sacred art suffered a decline even in Catholic culture.It was not until the twentieth and twenty-first centuries that the Catholic Church returned to support and encourage art in the religious context. It will then be necessary to distinguish between religious art and sacred art because they serve different functions. Precisely because it is a field in which deepening is possible, it could be very interesting for the psychology of art to study the perception of religious and sacred images, for example investigating constructs associated with the perception of vitality and aesthetic judgment.

On Some Epistemological Advantages of the Notion of “Intervenient Aesthetic Field”

The reality of the aesthetic seems to manifest itself more and more in relational and immersive ways that defy analyses that follow the trail of the modern tradition of philosophy, based on the dual gnoseological relationship between subject and object. Even some areas of the new cognitive sciences seem to converge towards a conception of experience as a complex horizon in which variously related vectors operate. From this point of view, it is worth exploring the notion of “field” as a conceptual tool to describe the aesthetic. In this paper we will consider two possible uses of this notion in reference to the aesthetic: to describe experiential modes (following Arnold Berleant), and to describe social dynamics (following Pierre Bourdieu). Yet, the starting point will be some considerations provided by Peter Abbs. We will thus try to show how the notion of “aesthetic field” can be consonant with scientific settings that advocate models of mind that stress its being extended and situated. A particular test bed will be the psychology of art as a discipline spanning philosophical knowledge and empirical investigation. In this key will also be considered the so-called “experiential revolution” in psychology, which indicates an extra-cognitive horizon variously coinciding with the perspective of an aesthetic research focused on the conception of aisthesis as a system of practices of perception, emotion, and expression. According to this conception, the dynamics within the aesthetic field, such as those related to the nexus between perceptual contents and aesthetic properties, or between emotional content and the practices of sensing could prove to be dynamics of “intervenience,” rather than of supervenience.

MUSICAL COMPOSITION AS METONYMY OF CULTURE AND THE SUBJECT OF MUSICOLOGICAL STUDIES

The study of musical composition as a unique artistic phenomenon remains an urgent task of modern musicology. Despite the constant use of this concept, it did not acquire a sufficiently stable categorical status. Some ambiguities in the theoretical interpretation of the concept of musical composition are due to the complex nature of this phenomenon, in which the main principles of musical form and meaning formation are focused. It is found that, on the one hand, the temporal nature of music and its impact allows us to consider musical compositions as conditional chronotopic indicators of the historical existence of culture. On the other hand, the semantic attitudes of cultural consciousness determine the typological features of a musical composition. The leading task of musicological interpretation is forming an integrative approach to the phenomenon of a musical composition. It allows combining various research criteria and proposing the most general metonymic model. The metonymic approach to a musical composition presupposes its abstract theoretical reconstruction; at the same time, this reconstruction leads to the identification of those constitutive features of the phenomenon under study that explain its specific artistic and expressive nature, coupled with sound exposure and auditory perception. In the context of art psychology, consideration of a musical composition as an artifact of cultural consciousness reveals its leading semantic properties. The metonymic aspect of this phenomenon interpretation reveals its addressing of noetic reality - the highest level of self-realization of culture semantic consciousness.

Chinese music therapy to treat depression in children and adolescents: The BARIT-Model

Depression is broadly considered a global epidemic. In China it ranks among the most prevalent mental disorders and is seriously affecting the younger generation (prevalence between 4% and 41%), hence the necessity to foster health education and sustainable resilience. Meta-synthetic construction resulted in a music-based model of educational therapy comprising five principles, beauty, activation, responsiveness, immersion and transformation, hence the name ‘BARIT-model’: (i) referring to anthropological, psychological and neuroscientific aesthetics, the approach benefits from the healing power of aesthetic experience, (ii) behavioural activation is widely regarded as an efficient approach to treat depression. Different from conventional cognitive behavioural therapy, the BARIT-model involves artistic activities such as music improvisation, sound scene improvisation, vocal experiments or creative variations of Chinese martial arts, (iii) responsiveness concerns the qualitative similarity of emotion and music, alongside the patients’ feeling of being ‘understood’ by what they are listening to, (iv) while depressive mood tends to occupy the whole person, music immersion can help to escape that ‘pathological cage’, (v) finally, traumatic roots of depression need therapeutic processing, such as artistic symbolisation, intermodal transformation and relabelling of traumata as potential source of creative performance. The BARIT-model is part of a comprehensive project to improve mental health in Chinese children and adolescents through arts-based methods for classroom education, which encompasses ‒ in addition to depression ‒ attention deficit hyperactivity disorders, oppositional defiant disorders, anxiety disorders, stress-related disorders and burnout syndromes, eating disorders such as anorexia nervosa or binge eating, as well as disorders related to the COVID-19 pandemic, e.g. developmental syndromes caused by lockdown and social distancing.

Contradiction That Never Was: Epigenesis versus Modularity in Evolutionary Aesthetics

Coevolutionary aesthetics has been forming since the early 2010s. Its contribution of great value has been the inclusion of cultural evolution into Darwinian theories on the origins of art and aesthetic judgement. Coevolutionary aesthetics – or non-modular evolutionary aesthetics as it is sometimes called – emphasizes that aesthetic behavior develops in a specific social environment. Coevolutionary aesthetics suggests that traditional evolutionary aesthetics, drawing from evolutionary psychology, has ignored this. The critical position stems from the widely accepted notions that humans adapt plastically to changing conditions and that there is no «innate» aesthetic module in the mind. What has not been examined is that modularity itself is often considered a condition for plasticity of mind. My main argument is that aesthetic inference is a metarepresentational module without direct fitness-increasing functions. Coevolutionary and evolutionary psychological aesthetics are thus more complementary than contradictory. Combining modular and coevolutionary thinking is the most consilient way forward in evolutionary aesthetics.

Art, Complexity and Sustainability in the Anthropocene

This paper explains the thinking behind the exhibition The Complete Entanglement of Everything. The curators’ premise was that, taken as whole, the exhibition would demonstrate the emergence of an understanding of the Anthropocene as it is playing out in Ōtepoti/Dunedin, New Zealand. The term “entanglement” was drawn from Donna Haraway’s argument that the wicked problems of our present predicament will only be intelligible if we understand that categorical distinctions are a problem in themselves (Haraway 2016). While some works were didactic, others, less obvious, drew on the power that art has to enable conceptual understanding in such a way that it is experienced by each viewer as their own. The genre of conceptual art offers such experiences: theorist and art historian Gregory Minissale in The Psychology of Art characterizes it as a kind of bundling of affect, cognition and emotion that extends the development of understanding. (Minissale 2013). Curatorial projects can in themselves operate as conceptual art. The argument that culture is the fourth pillar of sustainability is strengthened when artworks are viewed as holding patterns, containers or vehicles, for emergent and complex scenarios. In that way, artworks can assist as much with ac-knowledging the forces - such as grief and the sense of impotence - that restrain us from action, as with gaining new approaches and new strength for engagement.

Traces of knowledge and use of cues of sensory processing in ancient Greek art

This study aimed to find evidence of the presence, in ancient Greek art, of cues (triggers) for sensory processes involved in the appreciation of visual arts, within the framework of the psychology of art. The presence of such cues in ancient Greek art can suggest the existence of knowledge about them, together with their use, already by ancient Greek artists. For the study, a sample of image reproductions of ancient Greek art (from the archaic to the Hellenistic period - ca. 7th - 1st century BC) was submitted to a thematic-content analysis. This analysis revealed the presence of all most relevant known cues that trigger specific sensory processes involved in visual arts appreciation. Results suggest an intuitive knowledge of these processes by ancient Greek artists (probably based both on personal experience and social sharing), which aligns with the seminal role of ancient Greek art both in the extended use of those cues in western art and in the modulation of a “western way” of appreciating art.

Razvijanje empatije kod adolescenata uz pomoć filmske umetnosti

Empathy is a very important prosocial behavior, a part of emotional intelligence and it is necessary for the formation of well-functioning relationships, so that we can work together with others. Empathetic children are more successful in their own social environment and make friends more easily. Empathy is not a fixed personality trait, although there are innate differences in people's social sensitivity. Empathy can also be developed, which requires the right environment and siblings and adults and time to develop. The atmosphere of the family and the wider environment, the behavior of the adults, their relationship with each other and with children is the key, which children also see and learn from it (Borba, 2018). In order to develop empathy in adolescents, we went towards the psychology of art, to see the impact, the relationship of film for developing empathy. Therefore, in the first, theoretical chapter of the work, the taxonomy of film reception by viewers is presented from the perspective of psychology of art, film and theoretical works, empirical results of literary aesthetics, psychological interpretation of empathy and mentalization. The goal of our research is to support the theory that empathy and affective influence are greater in viewers who can more intensely identify with the film's protagonists. We had other goals: to analyze the effects of character identification and to study the relationship between identification and empathy. The results of Vische and Tan (2009), support that the emotional experience is significantly determined by the genre of the film. Examining the collected data, we can conclude that there are statistically significant differences between genres in terms of identification with the male protagonist, and the identification with the hero of the film is stronger in individuals who watched the thriller.

“НІЧОГО НОВОГО”: ЩЕ РАЗ ПРО НЕМОЖЛИВІСТЬ ГЛОБАЛЬНОЇ ІСТОРІЇ МИСТЕЦТВА (коментарі до “Короткої книжки про мистецтво” Дани Арнольд)

I started this text as a review of another ‘short history of art’ that I came across. ‘A Short Book About Art’, written by the British art historian Dana Arnold, is a great example of the popularization and practical application of new approaches to art history. Among them are sociology, psychology of art, political iconology, gender art history and more. The researcher set an ambitious goal. The work is dedicated to finding common threads that connect the art of different geographical areas and demonstrate that the art of any period works in a similar way. We are talking, as we see, about the global history of the arts. This story should cover all regions and give a balanced representation of the cultures/arts of the different regions. However, the noble goal, as a careful reading of the work showed, not only did not solve the problem but also exacerbated it. Non-European art is almost ignored. In addition, the researcher builds a typical pro-Western narrative, where, however, the progressive approach is replaced by values. If progressivism was the ‘dark side of modernity’, the ‘value approach’ involves the consideration of non-European art exclusively from the perspective of Occidental values. Non-European art enters the narrative of global art history through hybridization due to glocalization. At the same time, the glocalization of art occurs in two ways. The first of them is passive. The projective vision of the researcher formed by Western values ​​simply does not notice and does not anticipate any difference between the ‘other’. Because of this, neither the ‘other nor its differences fall into the field of study. The second way of glocalization is active. It involves the relocation and recontextualization of culture. It is about moving culture in a familiar, acceptable to the researcher context (most often it is the morphology of art, topic or phenomenology). Both options for glocalization involve the implementation of an exclusion strategy, which makes it impossible to talk about global art history. Global art history is possible only as a result of non-trivial decolonial optics. However, decolonization as a postmodern project contradicts the modern idea of ​‘short history’ and centrifugal narrative.

ПСИХОЛОГИЯ ИСКУССТВА КАК ИСКУССТВОВЕДЧЕСКАЯ ДИСЦИПЛИНА

The article deals with the general educational and special function of the discipline “Psychology of Art” in the system of training art historians. It is proved that this discipline is a part of critical theories, propaedeutic for producing a critical attitude to both aesthetic experience and the usual forms of expression of this experience. Thus, the discipline compensates for shortcomings in the philosophical education of art critics and introduces the principles of constructing a theoretical system as a multiple introduction of new forms of reflection. The historical approach to reading the discipline never contradicts these projects of systematization. The study of the discipline allows students to form the experience of independent research, the fitness to find a theoretical productivity in prominent works on the theory and history of art, and finally, to formulate the problem not as a result of aesthetic experience or individual procedures of knowledge, but as an effect of accepting art as a dynamic system for evaluating and qualifying objects, processes, and actions.

The beauty of Lusheng dance of Miao nationality in China

Lusheng dance of Miao nationality in Guizhou, China has a long history. It embodies the profound cultural essence of miao nationality for thousands of years, carries the ancient and simple cultural gene of Miao nationality, and tells the world the cultural history of Miao nationality in a unique form of music and dance. Because no native words, miao miao long civil first dance in the form of its record, the ethnic migration, war, and the production, marriage, funeral, such as natural relations, through the understanding of the objective, and follow the nation's aesthetic ideal, aesthetic psychology, abstraction and generalization, exaggeration and deformation to its record, created the style chic, unique rhythm of the miao nationality dance. Lusheng dance has penetrated into every aspect of miao social life. The lusheng and lusheng dance were performed in the worship of ancestors, production and labor, and weddings and funerals. The lusheng played and danced for tens of miles, and people came to participate in the grand event.

La psicología del arte analizada desde la melancolía en la obra “El laberinto del minotauro”

Melancholy in “The Minotaur's Labyrinth” by Ricardo Córdova Farfán is a reflective and theoretical investigation immersed in the field of Freudian aesthetics. This article was based on the premise that the unconscious structures of the painter's psyche had a direct relationship with his work, since artistic creation cannot be dissociated from the creator's unconscious, but is a faithful reflection of his perception, of his world. interior and your imagination. Thus, the purpose of the article was to analyze at the level of psychoanalysis the psychological presuppositions in the work "El laberinto del minotauro" by Ricardo Córdova Farfán, focusing on the theory of melancholy. Likewise, the specific objective was to analyze at the level of the psychology of art and aesthetics some works by Ricardo Córdova where the presence of the melancholic temperament is observed. For the understanding, analysis and interpretation of Córdova's works, the hermeneutics of symbols was used, as it is the most appropriate method for this kind of discourse. It was concluded that “El laberinto del minotauro” by Ricardo Córdova; It is an allegory of melancholy and the impossibility of finding full freedom. The painter recreates the Greek myth of the minotaur, but from a modern art point of view. Under the light of psychoanalytic theory, the characters that surround Asterión not only reflect certain states of melancholy as a result of disenchantment with reality, but above all they reflect some dark structures of the human being's unconscious.

On "Teaching" and "Learning" of Music Education in Senior High School

With the improvement of people's life quality in China, people pay more and more attention to the quality of education. The relevant departments have carried out the new curriculum reform and applied modern technology to the development of the education industry, thus improving the teaching efficiency of the education industry in China. The significance of music classroom teaching in senior high school lies in showing a broader development space for students and teachers, respecting the law of physical and mental development of senior high school students, and choosing teaching contents and methods suitable for each student to meet the music learning needs of different students, so as to stimulate their interest and creation in music learning, lay a foundation for the lifelong development of each senior high school student's cultural accomplishment, and then promote the all-round and harmonious development of students' personality. This topic is based on the theory of music education philosophy, post-modern music pedagogy, music education psychology, music aesthetic psychology and other knowledge, analyzes the problems existing in the current music education and teaching in Chinese schools, expounds the feasibility and necessity of implementing the diversified application of pop songs in high school music classes, and discusses the ways and methods of implementing the diversified application of pop songs. This paper discusses the educational function of applying pop songs to music classroom teaching and the basic requirements for teachers.

예술심리상담사의 자기 효능감이 직무 몰입에 미치는 영향

본 연구의 목적은 예술심리상담사의 자기 효능감과 직무 몰입의 차이 및 영향 관계에 대하여 파악하는 데 있다. 연구 대상은 서울특별시의 예술심리상담사 148명을 대상으로 실시하였다. 분석 방법은 SPSS 프로그램을 사용하여 빈도분석, 신뢰도 분석, 상관 분석, t-test, 일원 변량 분산 분석(one-Way ANOVA)을 실시하였으며, 변수 간의 인과 관계에 대한 회귀 분석을 실시하였다. 연구 결과 첫째, 예술심리상담사의 일반적 특성에 따른 자기 효능감의 차이 분석 결과, 연령 및 월 소득수준에 따른 자기 효능감은 집단 간 평균의 차이가 유의미하게 있는 것으로 나타났다. 둘째, 예술심리상담사의 일반적 특성에 따른 직무 몰입은 월 소득 수준에 따라 집단 간 평균의 차이가 유의미하게 있는 것으로 나타났다. 셋째, 예술심리상담사가 지각한 자기 효능감은 직무 몰입에 긍정적인 영향을 미치는 것으로 나타났다. 본 연구는 예술심리상담사의 직무 몰입 향상을 위한 실천적 방안 마련의 기초자료가 될 것으로 사료된다.

The experience of holistic analysis of art

This article compares two approaches: scientific, which is oriented towards the ideals of natural science; and holistic, which is oriented towards humanities. The author attributes the work of L. S. Vygotsky “Psychology of Art” to the first approach, however notices that the founder of Soviet psychology implements humanistic approach in addition to natural scientific. The object of this research is the aesthetic response; Vygotsky shows that art is the so-called machine of human development. In contrast to this, within the framework of holistic approach, the author outlines the two basic patterns that should encompass the wholeness and essence of art. On the one hand, this is artistic communication, while on the other – artistic reality. Artistic communication has ambivalent characteristics: as a special non-utilitarian environment of human life and communication, as well as historically formed semiosis of art. Both characteristics are explained using a brief genesis of establishment of art, simultaneously demonstrating the role of philosophical reflection, which is the key in determination and description of the artistic reality of artworks. The author aims to show that although artistic reality represents an artifact created with the use of expressive means, it is perceived by the audience as the world of natural events. The latter allow the audience to live to the fullest and fulfill their personality. The article discusses the alternative concepts of the purpose of art, as well as the role creativity, and realization of the writer's worldview.

Vygotsky’s Tragedy: Hamlet and the Psychology of Art

Lev S. Vygotsky is one of the major figures of psychology; however, his deep engagement with the arts is less known. This is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second, that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art, which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part 2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.

Sequence of discussion on the “Psychology of Art” by L. S. Vygotsky (analysis and Interpretation of literary works)

  This article reviews the polemic of the author with a number of well-known psychologists who consider L. S. Vygotsky a humanities scholar, and that the book “Psychology of Art” introduces psychologists to the humanities. The author clarifies his position, trying to show that in his methodological projects L. S. Vygotsky adheres to the natural scientific approach; however, in some works he actually does think as a humanist. The author also casts doubt on Vygotsky's concept of art, demonstrating that the offered mechanisms of aesthetic response and interpretation of literary works are problematic or unsatisfactory. In this regard, analysis is conducted on the position of V. Sobkin, which differs significantly from the views of L. S. Vygotsky. The author offers the original interpretation of art, which implies the three aspect: sociocultural that analyzes artistic communication; related to the philosophy of subjectivity (life from the perspective of an artist, viewer, or reader); and analysis of artistic reality, which includes consideration of the literary language and events. The author elucidates the corresponding concepts and problems that appear in such art task. For better understanding of the proposed ideas, the author reviews the examples from the “Psychology of Art” by L. S. Vygotsky, and cites a case from the own works. The discrepancy with L. S. Vygotsky he views as an motive to continue his research and the need for their critical reflection.  

Imagining How Lines Were Drawn: The Appreciation of Calligraphy and the Facilitative Factor Based on the Viewer's Rating and Heart Rate.

For this study, we examined how recognizing the writing process of calligraphy influences the cognitive and affective processes related to appreciating it, with the aim of contributing to both graphonomics and the psychology of aesthetics. To this end, we conducted two Web-based experiments in which some participants were instructed to view calligraphy by tracing it with their eyes (the tracing method), while others were told to feel free to think and imagine whatever they wanted. Study 1 (N = 103) revealed that the tracing method elicits stronger admiration, inspiration, and empathy in viewers. Study 2 (N = 87) showed that the tracing method decreases the average heart rate of those who do not frequently engage in calligraphy appreciation as they gaze at calligraphy for a minute-and-a-half (during the second half of the stimulus duration); this suggests that the tracing method could keep viewers from becoming bored while looking at calligraphy. In sum, the tracing method has positive effects on viewing calligraphy. From a broader perspective, the results imply that how in detail viewers recognize the process of creating an artwork will be a key determinant of art appreciation. In addition, our findings demonstrate how we can measure cardiac activities using the emerging technology of the photoplethysmogram (PPG).