scholarly journals Effects of creativity on aesthetic experience7

Psihologija ◽  
2017 ◽  
Vol 50 (3) ◽  
pp. 319-339
Author(s):  
Ivan Stojilovic
Keyword(s):  
Regression Analysis ◽  
Random Effects ◽  
Exploratory Study ◽  
Aesthetic Experience ◽  
The Other ◽  
Creative Activity ◽  
Multilevel Regression ◽  
Aesthetic Preference ◽  
Crossed Random Effects ◽  
The Aesthetic

It is often neglected that the experience of artwork is a creative act, and one which requires the audience to be creative. This exploratory study aimed to examine whether creative activity and measures of pe rson`s creativity are correlated with the aesthetic experience of paintings. Eighty-two participants rated 21 paintings, including 7 figural traditional paintings, 7 semi-abstract works, and 7 abstract works. Participants were randomly assigned to one of two experimental groups. One group first created collages and then rated the paintings on five aesthetic preference scales, while the other group first rated the paintings and then created collages. Multilevel regression analysis with two crossed random effects (participants and paintings) was used. Results showed that performing a creative activity prior to rating artwork positively influenced ratings of artwork creativity. In addition, collage creativity was positively correlated with ratings of (semi)abstract paintings as beautiful. It is hypothesized that people become more open to new, unusual experiences, are more flexible and act more freely in their decisions when performing a creative activity, which reflects positively on stronger preferences of paintings.

scholarly journals La estética modal como herramienta de análisis cinematográfico

2020 ◽  
Author(s):  
Jesús Ramé López
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Other Hand ◽  
The Aesthetic ◽  
Fundamental Categories ◽  
Film Aesthetics

Modal aesthetics emerges from Nicolai Hartmann’s ontology, whose modal distribution has three fundamental categories: the Repertorial, the Dispossitional and the Landscape which diverse dynamic equilibriums articulate both the artwork and the aesthetic experience. In this way, movies and our responses to them would appear as manifestations of diverse “modes of relation”, which organize the cinematographic work along with the sensitivities coupling with it, while integrating them both within the technological-historical development.As a result of the different modal equilibriums available, film poetics can eventually be better understood in their dependence to repertorial aesthetics. Such is the case with classic American which following the logics of the mode of the necessary, has been able to produce and consolidate a series of aesthetic patterns based on invisibility and that have come to us as a collection of filmic forms. On the other hand, the dispositional aesthetics deploy the mode of the possible. This is the case of the film vanguards, where new ways of doing things are built against what was previously considered necessary. Other film aesthetics can put the focus on the mode of effectiveness: this could be the proper focus to understand the character of werewolf, whose iconography comes to a full crystallization in the cinema, while being the object of dispute between a number of differente efectivities that are happening and that change both the man and the werewolf that emerges from the metamorphoses.Of course nothing here happens in isolation, since modal aesthetics categories are dynamic devices which describe different modal tensions and processes.

scholarly journals The Biological Basis of Mathematical Beauty

2018 ◽  
Author(s):  
Semir Zeki ◽  
Oliver Y. Chén ◽  
John Paul Romaya
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Cultural Backgrounds ◽  
Mathematical Culture ◽  
Extensive Experience ◽  
Aesthetic Experiences ◽  
Biological Basis ◽  
Mathematical Beauty ◽  
The Aesthetic ◽  
Biological Category

AbstractThrough our past studies of the neurobiology of beauty, we have come to divide aesthetic experiences into two broad categories: biological and artifactual. The aesthetic experience of biological beauty is dictated by inherited brain concepts, which are resistant to change even in spite of extensive experience. The experience of artifactual beauty on the other hand is determined by post-natally acquired concepts, which are modifiable throughout life by exposure to different experiences (Zeki, 2009). Hence, in terms of aesthetic rating, biological beauty (in which we include the experience of beautiful faces or human bodies) is characterized by less variability between individuals belonging to different ethnic origins and cultural backgrounds or the same individual at different times. Artifactual beauty (in which we include the aesthetic experience of human artifacts such as buildings and cars) is characterized by greater variability between individuals belonging to different ethnic and cultural groupings and by the same individual at different times. In this paper, we present results to show that the experience of mathematical beauty (Zeki et al 2014), even though it constitutes an extreme example of beauty that is dependent upon (mathematical) culture and learning, belongs to the biological category and obeys one of its characteristics, namely a lesser variability in terms of the aesthetic ratings given to mathematical formulae experienced as beautiful.

scholarly journals Aesthetic preference of object position on pictures

Psihologija ◽  
2003 ◽  
Vol 36 (3) ◽  
pp. 313-330 ◽  
Author(s):  
Oliver Toskovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
Golden Section ◽  
Aesthetic Preference ◽  
Golden Rectangle ◽  
Black Circle ◽  
Different Shapes ◽  
The Aesthetic ◽  
The Right ◽  
The Given ◽  
Optimal Effect

In this study three hypothesis were evaluated. The first claims that the golden section position is an ideal position of an object on a picture and that this position does not depend on picture shape, or on the number of objects on it. According to the second hypothesis, the aesthetically optimal effect is achieved when the focus is on the right side of the picture ( for asymmetrically composed pictures). According to the third hypothesis, there is an influence of previous stimulation on aesthetic experience; that is, because of the monotony, the aesthetic preference of observers will change. An experiment was done, with two sections. In the first section, subjects were asked to put a little black circle, on three different shapes of cards (square, golden rectangle and rectangle), in a such way that the given configuration is the most beautiful one in their own opinion. The second section of the experiment was almost identical to the first one, with the exception that the subjects were asked to put two circles on each of the cards. Each one of the three hypothesis was confirmed by the results of this experiment. The preferred position of the circle is the same as the position of the golden section and it does not change with the change of card shape and number of objects. There is a clear preference of the upper-right corner of cards. The preferred position of an object is changed with repetition of the same stimulation (the same shape of cards and the same number of circles).

scholarly journals On kitsch and kic: Comparing kitsch concepts from Bavaria, Serbia and Slovenia

Psihologija ◽  
2017 ◽  
Vol 50 (3) ◽  
pp. 357-381 ◽  
Author(s):  
Stefan Ortlieb ◽  
Ivan Stojilovic ◽  
Danaja Rutar ◽  
Uwe Fischer ◽  
Claus-Christian Carbon
Keyword(s):  
Regression Analysis ◽  
Pilot Study ◽  
Value Orientations ◽  
Future Research ◽  
Perceived Threat ◽  
Ambiguity Tolerance ◽  
Multilevel Regression ◽  
German Word ◽  
Crossed Random Effects ◽  
Self Transcendence

The German word kitsch has been internationally successful. Today, it is commonly used in many modern languages including Serbian and Slovenian (kic)-but does it mean the same? In a pilot study, thirty-six volunteers from Bavaria, Serbia and Slovenia rated two hundred images of kitsch objects in terms of liking, familiarity, determinacy, arousal, perceived threat, and kitschiness. Additionally, art expertise, ambiguity tolerance, and value orientations were assessed. Multilevel regression analysis with crossed random effects was used to explore crosscultural differences: Regardless of cultural background, liking of kitsch objects was positively linked to emotionally arousing items with non-threatening content. Self-transcendence was positively linked to liking, while ambiguity of the parental image was concordantly associated with kitschiness. For participants from Serbia and Slovenia, threatening content was correlated with kitschiness, while participants from Bavaria rated determinate items as kitschier. Results are discussed with regard to literature on kitsch and implications for future research.

scholarly journals The relationship between the dancers’ and the audience’s aesthetic experience

Psihologija ◽  
2017 ◽  
Vol 50 (4) ◽  
pp. 465-481
Author(s):  
Maja Vukadinovic ◽  
Slobodan Markovic
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Live Performance ◽  
Dance Performance ◽  
Video Presentation ◽  
Other Hand ◽  
Custom Made ◽  
The Aesthetic ◽  
The Relationship ◽  
Higher Sensitivity

The study investigates the aesthetic experience of a dance performance from the perspective of both the dancers and the audience. The audience observed three short custom-made choreographies that were presented live and then watched the recorded versions, and judged them on an instrument designed to measure the aesthetic experience of dance. The choreographies were performed by six dancers. The dancers judged their own performances as well as the recorded versions of the performances. The analyses revealed that the dancers? aesthetic experience of a dance performance is similar when they perform choreography and watch it on video. On the other hand, the audience showed a higher sensitivity to live performance: they judged the live performance higher on all dimensions of aesthetic experience compared to their video presentation.

scholarly journals The Role of Art in Society with Particular Reference to the Problem of Violence$

2016 ◽  
Vol 9 (1) ◽  
pp. 160-167
Author(s):  
Camilla Pagani
Keyword(s):  
Theoretical Approach ◽  
Power Relations ◽  
Aesthetic Experience ◽  
Theoretical Perspective ◽  
Human Mind ◽  
The Other ◽  
Psychological Processes ◽  
The Aesthetic ◽  
The Individual

Background: According to the Latin poet Virgil, art is capable of revealing to us what no science can ever reveal to a human mind. The main thesis of this paper is that art can play an extremely beneficial role in society as it can strongly foster humans’ efforts to attain a deeper and broader comprehension of reality. Objective: The experience of art can provide a powerful contribution to the efforts to avoid resorting to violence and to address conflicts constructively. Violence or, more exactly, unjustified violence, basically rests on an irrational and short-sighted analysis and interpretation of reality. Results: The psychological processes relating to the aesthetic experience and to its connections with violence are described. It is also pointed out that this theoretical perspective does not fully coincide with the theoretical theses underpinning art therapy. In fact, in this paper art is not considered as a mere therapeutic instrument. Instead, an attempt has been made to consider art and our relationship with art in their more complex and partly still unexplored aspects, where neither art or the individual is “at the service” of the other. Conclusion: Art can provide the possibility to experience a new dimension, where no power relations exist and where new ways of seeing and feeling are made possible. It can hence foster the development of less primitive and richer personalities. In this way violence should lose its raison d’être. So it appears that this theoretical approach might be particularly helpful in order to better understand and countervail violence.

A Gravidade do Consenso sob Suspeita

2002 ◽  
Vol 10 (19) ◽  
pp. 57-67
Author(s):  
José Quaresma ◽  
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Aesthetic Judgement ◽  
First Occurrence ◽  
The Aesthetic ◽  
The Individual ◽  
First Moment ◽  
Rational Arguments

In this article we share the conviction that any aesthetic judgement is compounded of extreme spontaneity (I); communicated share (and not a presumed share) - the demands set by the Other of the communication and the conflict of two distinct claims (II); the personal synthesis between the individual spontaneity and the results of the share done with the Other of the aesthetic communication (III). We also admit that these three aesthetic occurrences are equally needed to the aesthetic communication, but we lay stress on the first occurrence - extreme spontaneity - as the “touch stone” of both aesthetic experience and judgement’s communication. What we corne to emphasize is that the occurrence “extreme spontaneity” is not just the very basis of the aesthetic experience, but as well, the “touch stone” of the aesthetic communication that never fades away of the discussion, even when the most rational arguments are present. As a mater of fact, this occurrence is there at the very first moment, persists secretly and strategically at the second one - moment of the communicated share - and reappears openly at the synthetic occurrence. We also defend that the “extreme spontaneity” is the occurrence that generates the suspicion’s exercise about the excesses of the communication’s rationality; that makes the suspicion something permanent (sometimes visible others latent); and finally, allows us to say that without its craft and the sensitive suspecting power the communication of the aesthetic judgement loses its authenticity and becomes empty in its universal claiming and tensional life.

Introduction

2019 ◽  
pp. 1-29
Author(s):  
Johannes Riquet
Keyword(s):  
Aesthetic Experience ◽  
The Other ◽  
Material World ◽  
Global Space ◽  
Age Of Discovery ◽  
The Common ◽  
The Aesthetic ◽  
Modern Experience ◽  
The One ◽  
Fictional Representations

Drawing on (post-)phenomenological and geopoetic perspectives, the introduction explains the book’s interest in considering islands at the intersection of material and poetic production on the one hand, and aesthetic experience of the phenomenal world on the other. It suggests that the modern experience of islands in the age of discovery went hand in hand with a disintegration of received models of understanding global space, and that fictional and non-fictional representations of islands negotiate these perceptual challenges. It thereby explains how The Aesthetic of Island Space complicates the common account of islands as discrete shapes, geometrical abstractions, and easily understandable images. Instead, it foregrounds the importance of water, mobility, and a range of dynamic geo(morpho)logical and poetic processes in the figuration of islands. The introduction ends by discussing the significance of considering islands in relation to an ‘aesthetics of the earth’ (DeLoughrey and Handley) and a poetics of the material world.

scholarly journals Students Are Rarely Independent: When, Why, and How to Use Random Effects in Discipline-Based Education Research

2018 ◽  
Vol 17 (3) ◽  
pp. rm2 ◽  
Author(s):  
Elli Theobald
Keyword(s):  
Education Research ◽  
Regression Analysis ◽  
Multilevel Modeling ◽  
Random Effects ◽  
Random Sampling ◽  
Regression Models ◽  
Colleges And Universities ◽  
Multilevel Regression ◽  
Additional Control ◽  
Natural Laboratory

Discipline-based education researchers have a natural laboratory—classrooms, programs, colleges, and universities. Studies that administer treatments to multiple sections, in multiple years, or at multiple institutions are particularly compelling for two reasons: first, the sample sizes increase, and second, the implementation of the treatments can be intentionally designed and carefully monitored, potentially negating the need for additional control variables. However, when studies are implemented in this way, the observations on students are not completely independent; rather, students are clustered in sections, terms, years, or other factors. Here, I demonstrate why this clustering can be problematic in regression analysis. Fortunately, nonindependence of sampling can often be accounted for with random effects in multilevel regression models. Using several examples, including an extended example with R code, this paper illustrates why and how to implement random effects in multilevel modeling. It also provides resources to promote implementation of analyses that control for the nonindependence inherent in many quasi-random sampling designs.

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