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Authors:Karina Aylin Gotthardt, Katrin Rakoczy, Miles Tallon, Matthias Seitz, Ulrich Frick Abstract: Empirical Studies of the Arts, Ahead of Print. Cultural activities might serve as a buffer to the negative effects of the COVID-19 pandemic on mental health. Frequencies of participants’ cultural activities in terms of participation in digital cultural offerings or self-initiated cultural activities during the pandemic are examined, and whether prior cultural engagement and valuing of culture have an impact on this participation. It is explored whether both forms of cultural activities are directly connected with psychological well-being, namely, optimism concerning COVID-19, and whether this relationship is mediated by autonomy, relatedness and aesthetic experience. Regression and mediation analysis were calculated (N = 398). Both cultural activities were related to increased aesthetic experience and perceived autonomy, but only participation in digital cultural offerings was connected to increased perceived relatedness. Relatedness, in turn, was connected to increased optimism. The results reflect the protective function of cultural activities on psychological well-being, demonstrating the importance of cultural life in times of adversity. Citation: Empirical Studies of the Arts PubDate: 2022-06-16T09:14:30Z DOI: 10.1177/02762374221103989
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Authors:María Jesús Cano-Martínez, Miguel Carrasco, Joaquín Sandoval, César González-Martín Abstract: Empirical Studies of the Arts, Ahead of Print. Visual representation as a means of communication uses elements to build a narrative. We propose using computer analysis to perform a quantitative analysis of the elements used in the visual creations that have been produced in reference to the epidemic, using 927 images compiled from The Covid Art Museum's Instagram account. This process has been carried out with techniques based on deep learning to detect objects contained in each study image. The research reveals the elements that are repeated in images to create narratives and the relations of association that are established in the sample. The predominant discourses in the sample do not show concern for the effects of illness. On the contrary, the impact and effects of confinement, through the prominent presence of elements such as human figures, windows, and buildings, are the most expressed experiences in the creations analyzed. Citation: Empirical Studies of the Arts PubDate: 2022-05-30T06:08:31Z DOI: 10.1177/02762374221104059
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Authors:Lena Wimmer, Layla El-Salahi, Hon W. J. Lee, Heather J. Ferguson Abstract: Empirical Studies of the Arts, Ahead of Print. We report two pre-registered experiments investigating some of the conditions under which readers focus on aesthetically relevant object properties in text processing. Experiment 1 (N = 159) tested the role of narrativity, psychological information about textual characters, and readers’ identification with them. Participants’ focus on aesthetically relevant object properties was stronger after reading a narrative than an expository text. This relationship between participants’ focus and narrativity was not affected by information about textual characters, or readers’ identification with them. Experiment 2 (N = 159) tested the role of narrativity, literariness, and readers’ perception of literary features. Again, reading a narrative led to a stronger focus on aesthetically relevant object properties than reading an expository text. The effect of literary narratives was meditated by readers’ perception of literary features. In sum, narrativity and literariness, but not information about characters or identification with them affect the degree to which readers focus on aesthetically relevant object properties. Citation: Empirical Studies of the Arts PubDate: 2022-04-27T07:43:53Z DOI: 10.1177/02762374221095482
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Authors:Chantal A. Miller, Ronald Hübner Abstract: Empirical Studies of the Arts, Ahead of Print. The relation between empathy and aesthetic experience has been stated early in empirical aesthetics. Aesthetic empathy means the ability to take the perspective of an artwork´s depicted content or form. Nowadays, empathy defines the ability to infer other persons´ mental states and feelings. In this study, we investigated the relationship between empathy and aesthetic response and aesthetic inference abilities. Subjects judged twenty-four visual artworks on an affective, a cognitive, and a beauty dimension, in a Self- and Other-assessment. We analyzed these data in relation to self-judged empathy on four dimensions: emotional and cognitive empathy in fictitious and in real-world situations. Additionally, we considered gender differences in empathy and aesthetic response. Results show (gender-specific) correlations between empathy and aesthetic response and aesthetic inference abilities. This supports the assumption that empathy assists to adopt the perspective of visual artworks as well as to infer the aesthetic preferences of other people. Citation: Empirical Studies of the Arts PubDate: 2022-04-22T06:11:48Z DOI: 10.1177/02762374221095701
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Authors:Safia Najwa Suhaimi, Blair Kuys, Deirdre Barron, Nuoya Li, Zainurul Rahman, Allan Whitfield Abstract: Empirical Studies of the Arts, Ahead of Print. There is a long history of humans attempting to understand what drives aesthetic preference. One line of inquiry examines the effects of typicality and novelty on aesthetic responses to designed products. There is currently a wide support towards the ‘Most Advanced Yet Acceptable’ (MAYA) principle, and studies underpinning this have focused on everyday objects. Despite the differences in the function of everyday objects, what they all have in common is their visibility. This do not tell us whether the aesthetic processing will be the same when applied to less visible objects. A study was undertaken using industrial boilers as stimuli and conducted on 7-point Likert scales with participants from Australia and China. The results are unequivocal: novelty makes a medium contribution, while typicality makes a low contribution. This is inconsistent with the notion that typicality is a major determinant of aesthetic preference, suggesting that the current models of aesthetic preference need elaboration. Citation: Empirical Studies of the Arts PubDate: 2022-04-22T06:11:31Z DOI: 10.1177/02762374221094137
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Authors:Gabriela Durán-Barraza, Deepti Ghadiyaram, Mary A. Peterson Abstract: Empirical Studies of the Arts, Ahead of Print. Conceptual information is central to the field of artistic photography. Nonetheless, there are very few studies on the matter. Therefore, we investigated whether artist's conceptual titles affected viewers’ interest in artistic photographs. Experiment 1 showed that adding artist's conceptual titles increased both the rated liking of and interest in the photographs, whereas adding a descriptive title had no effect. For Experiment 2 participants judged the pairing of photographs with artist-generated conceptual titles as more appropriate than plausible or random pairings, supporting the view that artist's conceptual titles are an essential part of the artwork. In Experiment 3, interest was assessed by asking participants to place adjustable-size frames anywhere on the photographs. Participants selected more interest areas on photographs accompanied by conceptual titles than on those unaccompanied by titles. These findings support the hypothesis that conceptual information provided by the artist's titles increases interest and liking in photographs. Citation: Empirical Studies of the Arts PubDate: 2022-03-11T12:54:29Z DOI: 10.1177/02762374221082505
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Authors:Erick G. Chuquichambi, Daniela Sarria, Guido B. Corradi, Enric Munar Abstract: Empirical Studies of the Arts, Ahead of Print. Lines contribute to the visual experience of drawings. People show a higher preference for curved than sharp angled lines. We studied preference for curvature using drawings of commonly-used objects drawn by design students. We also investigated the relationship of that preference with drawing preference. Experiments 1 and 2 revealed preference for the curved drawings in the laboratory and web-based contexts, respectively. Experiment 3 showed that the curved drawings were also preferred to draw than the sharp-angled ones. However, this effect only appeared when the drawings were made by hand, but not when they were made by computer. We found a moderate positive correlation between liking and drawing preference. This relationship was mainly explained by the hand-made drawings. Sex, art experience and openness to experience did not influence preference for curvature. Altogether, our findings support the curvature effect and the hypothesis that people prefer to draw what they like to see. Citation: Empirical Studies of the Arts PubDate: 2022-03-01T03:09:04Z DOI: 10.1177/02762374221084212
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Authors:Yen-Ching Lin Abstract: Empirical Studies of the Arts, Ahead of Print. Although the aesthetic experience of popular illustrations is frequent in modern life, no scientific research can fully explain its psychological structure so far. This study aims to develop an aesthetic model of perception, affection, and cognition, presenting an aesthetic psychological framework for contemporary popular illustration. Thirty representative illustrations were selected as experimental stimuli from design media, and a seven-point scale with 10 paired adjectives of underlying psychological factors was built by analyzing systematic aesthetic researches by literature review. A total of 386 volunteers were recruited for the experimental survey. Confirmatory factor analysis (CFA) through structural equation modeling (SEM) was used to confirm the proposed model. The results showed that beauty, pleasure, and interestingness are the optimum indicators measuring the aesthetic experience of popular illustrations, and instead of the underlying meanings, the positive self-rewarding quality makes aesthetic experience of popular illustrations special. Citation: Empirical Studies of the Arts PubDate: 2022-02-10T04:00:45Z DOI: 10.1177/02762374211047972
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Authors:Francesco Angelini, Massimiliano Castellani, Pierpaolo Pattitoni Abstract: Empirical Studies of the Arts, Ahead of Print. Considering all transactions related to modern and contemporary visual artists mediated by galleries in Italy between 2007 and 2012, we propose an empirical measure of artist brand and explore its relationship with artist-specific characteristics, such as talent, fame, and popularity, through a structural model. We find that artist brand depends positively on talent, fame, and popularity. Moreover, we find that a co-creation mechanism is at work in the Italian art market, where galleries choose their specialization strategies in picking their artist portfolios. We interpret our findings in light of a novel conceptual framework of human branding and co-creation in the visual art market. Citation: Empirical Studies of the Arts PubDate: 2022-01-17T12:36:00Z DOI: 10.1177/02762374211072964
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Authors:Rebecca Chamberlain,
Aenne Brielmann First page: 123 Abstract: Empirical Studies of the Arts, Ahead of Print.
Citation: Empirical Studies of the Arts PubDate: 2022-04-11T01:50:23Z DOI: 10.1177/02762374221092393
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Authors:Harsha Gangadharbatla First page: 125 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-02-17T05:01:18Z DOI: 10.1177/0276237421994697
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Authors:Robert R. Clewis, David B. Yaden, Alice Chirico First page: 143 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-02-25T09:19:53Z DOI: 10.1177/0276237421994694
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Authors:John W. Mullennix, Amber Hedzik, Amanda Wolfe, Lauren Amann, Bethany Breshears, Nate Ticjak First page: 174 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-02-16T06:59:16Z DOI: 10.1177/0276237421994696
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Authors:Fatima M. Felisberti First page: 192 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-03-17T10:38:26Z DOI: 10.1177/02762374211001798
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Authors:Ernesto Monroy, Toshie Imada, Noam Sagiv, Guido Orgs First page: 209 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-03-23T07:24:21Z DOI: 10.1177/02762374211001800
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Authors:Suhyun Park, Louis Wiliams, Rebecca Chamberlain First page: 228 Abstract: Empirical Studies of the Arts, Ahead of Print. 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. Citation: Empirical Studies of the Arts PubDate: 2021-03-25T02:05:09Z DOI: 10.1177/02762374211001811
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Authors:Christiana Iordanou, Melissa L. Allen, Lara Warmelink First page: 245 Abstract: Empirical Studies of the Arts, Ahead of Print. This study investigated whether the content of children’s drawings of an event changes over three successive interviews about that event. It also assessed whether children recall more details verbally than they draw. Twenty-seven 3- to 6-year old children witnessed a live event which ended with one actor stealing a cuddly toy. They were interviewed about it 1 day, 2 weeks, and 6 months later. At each interview, children were asked to make a drawing of the event while narrating what happened. We analyzed the content of the drawings for seven features relevant to the event as well as inaccurate information. Children’s inclusion of “the perpetrator” and “the victim” decreased over time but the other features remained stable. Children verbally reported significantly more details than they drew. Our findings suggest that children provide less information in drawings than in verbal reports, but this information may be more reliable and stable compared to verbal reports over multiple interviews. Citation: Empirical Studies of the Arts PubDate: 2021-11-29T09:35:33Z DOI: 10.1177/02762374211047971
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Authors:Romain Brisson, Renzo Bianchi First page: 259 Abstract: Empirical Studies of the Arts, Ahead of Print. Aesthetic disposition has been defined as the propensity to prioritize form over function and to approach any object as potentially valuable from an aesthetic standpoint. In this study, we examined whether and how aesthetic disposition was predicted by educational capital, personality trait openness, and sex. In addition, we investigated the association of educational capital and sex with openness. We compared students from a general high school (“high” educational-capital group) with students from a vocational high school (“low” educational-capital group). We found that (a) aesthetic disposition was positively associated with educational capital and, to a lesser extent, with openness, (b) sex was of minor importance in the distribution of aesthetic disposition, and (c) openness was positively linked to educational capital and unrelated to sex. Our findings support the view that educational capital plays an important role in the social distribution of aesthetic disposition and highlight a link between education and openness. Citation: Empirical Studies of the Arts PubDate: 2021-11-20T10:57:53Z DOI: 10.1177/02762374211047973
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Authors:Katherine N. Cotter, Anna Fekete, Paul J. Silvia First page: 275 Abstract: Empirical Studies of the Arts, Ahead of Print. People visit museums with differing motivations. We use Falk’s visitor identity model to examine visitors’ motivations to visit an art museum. We assess (1) the prevalence of different motivation types; (2) how visit motivations and outcomes relate to visit satisfaction and length; and (3) the relation between visit motivations and fulfillment of expectations. We found that (1) visitors most strongly endorsed motivations and visit outcomes related to exploration and least strongly to facilitating another’s visit; (2) visit outcomes predicted visit satisfaction and length more strongly than did visit motivations; and (3) visit outcomes largely met or exceeded the visitors’ pre-visit expectations. The present findings suggest that outcomes of the visit matter more than motivations for visiting. We suggest that examining the entirety of a visit—pre-visit motivation and post-visit outcomes—may provide new insights about art museum visits that may be obscured when focusing on just one of these aspects. Citation: Empirical Studies of the Arts PubDate: 2021-04-26T08:55:34Z DOI: 10.1177/02762374211011740
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Authors:Diana Omigie, Jessica Ricci First page: 296 Abstract: Empirical Studies of the Arts, Ahead of Print. Music offers a useful opportunity to consider the factors contributing to the experience of curiosity in the context of dynamically changing stimuli. Here, we tested the hypothesis that the perception of change in music triggers curiosity as to how the heard music will unfold. Participants were presented with unfamiliar musical excerpts and asked to provide continuous ratings of their subjective experience of curiosity and calm, and their perception of change, as the music unfolded. As hypothesized, we found that for all musical pieces, the perceptual experience of change Granger-caused feelings of curiosity but not feelings of calm. Our results suggest music is a powerful tool with which to examine the factors contributing to curiosity induction. Accordingly, we outline ways in which extensions to the approach taken here may be useful: both in elucidating our information-seeking drive more generally, and in elucidating the manifestation of this drive during music listening. Citation: Empirical Studies of the Arts PubDate: 2021-12-16T10:50:26Z DOI: 10.1177/02762374211059460
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