Exploring the relationship between activities and emotional experience using a diary in a mental health inpatient setting

2017 ◽  
Vol 27 (1) ◽  
pp. 276-286 ◽  
Author(s):  
Fredrik Folke ◽  
Timo Hursti ◽  
Jonathan W. Kanter ◽  
Hans Arinell ◽  
Stefan Tungström ◽  
...  
Psych ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 92-100
Author(s):  
Mateusz Tofilski ◽  
Filip Stawski

Art reception is a complex process influenced by many factors, both internal and external. A review of the literature shows that knowledge about the artist, including their mental health, has an impact on the general assessment of their artwork. The purpose of this research was to examine the relationship between knowledge about the artist’s mental illness and the perception of the artwork. We focused on the subjective emotional experience and general assessment of ten specific pictures painted by patients diagnosed with schizophrenia. The research followed four cohorts (two groups divided into two subgroups—art experts and laypeople) of students for over a month. The results revealed significant differences between the two general groups as well as between the ‘expert’ and ‘laypeople’ groups. The findings showed that non-aesthetic categories (e.g., knowledge about the mental illness of an artist) were related to artwork perception and support a holistic and dynamic approach to aesthetic emotions.


Psych ◽  
2019 ◽  
Vol 1 (1) ◽  
pp. 92-100
Author(s):  
Mateusz Tofilski ◽  
Filip Stawski

Art reception is a complex process influenced by many factors, both internal and external. A review of the literature shows that knowledge about the artist, including their mental health, has an impact on the general assessment of their artwork. The purpose of this research was to examine the relationship between knowledge about the artist’s mental illness and the perception of the artwork. We focused on the subjective emotional experience and general assessment of ten specific pictures painted by patients diagnosed with schizophrenia. The research followed four cohorts (two groups divided into two subgroups—art experts and laypeople) of students for over a month. The results revealed significant differences between the two general groups as well as between the ‘expert’ and ‘laypeople’ groups. The findings showed that non-aesthetic categories (e.g., knowledge about the mental illness of an artist) were related to artwork perception and support a holistic and dynamic approach to aesthetic emotions.


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