Raffel's critique of artists all

The role of technology in the creative process is changing drastically, given the technological advancements of recent years. Although the role of technology is acknowledged in the systems approach to creativity, the model needs modifications to account for the increased importance of technology in the creative process. This article outlines the effects of technology on the individual, society, and the domain, and argues that the original model be revised to include a new component called the technology component. The proposed changes to the system are illustrated and the implications of a modified systems approach to the creative process are discussed.     

Suicide among eminent artists

To evaluate suicide risk by profession among eminent artists data from Garzanti's Encyclopedia, a broad biographical repertory, were used. Six categories in the visual and literary arts were compared: architects, painters, sculptors, writers, poets, and playwrights. Only people whose deaths occurred in the 1800s or 1900s were included since it is likely that underestimation of suicide has been lower in the more recent centuries. A total of 59 suicides were observed in a sample of 3,093 people: this corresponds to a ratio of 1.90%. Suicides were 51 among men (ratio 1.75%) and 8 among women (ratio 4.30%). The comparison by profession indicates that poets and writers exceed the mean suicide ratio of the sample. Painters and architects, conversely, have a clearly lower risk than the mean. Mean age of suicides was 44 yr. (SD = 12), with writers being slightly older (48 yr., SD = 12) than other artists. Artists who died of causes other than suicide reach a mean of 65 yr. (SD = 10). Suicide among artists seems to have a peculiar pattern, clearly different from the pattern of the general population, wherein suicide risk is higher among men and older people. Adverse financial circumstances and the stress attributed to rejection of personal products may contribute to the specific risk of suicide among artists. The link between mental disorders, such as manic-depression, which imply a higher risk of suicide, and creativeness is discussed as a contributing factor.     

Schizotypy and creativity in visual artists

‘Every work of art is an uncommitted crime ’ Adorno (1951) . Cited in Julius (2002) . Given the putative relationship between creativity and schizotypy/psychoticism, the current study set out to investigate differences in scores on a range of personality and creativity measures between visual artists and non‐artists. Results found that the visual artists group scored higher on measures of positive‐schizotypy, disorganized‐schizotypy, asocial‐schizotypy, neuroticism, openness and divergent thinking (uniqueness) than did the non‐artist group and lower on agreeableness. These findings lend support to other studies reporting higher schizotypy scores in artistic and creative cohorts, although provide some of the first evidence of higher unusual experiences and impulsive nonconformity scores on the Oxford‐Liverpool Inventory of Feelings and Experiences (O‐LIFE) in visual artists. The relationship between creativity and schizotypy is discussed in terms of unusual ideas and a propensity to endorse socially undesirable responses.     

如何对艺术家进行心理传记分析

如何对艺术家进行心理传记分析,是心理传记学研究的一个关键问题。Schultz在总结前人研究的基础上,提出了几种研究的基本范式,这对当前对艺术家的心理传记研究,具有重要的实践意义。     

The psychological impact of training deprivation in martial artists

Objectives: The aim of the study was to examine the psychological impact of a one-week deprivation period from training in martial artists, training at brown and black belt levels in Shotokan karate, and to observe whether the effects are different for men and women.Method: Twenty martial artists were tested in two counterbalanced study-waves one consisting of pre-, during- and post-deprivation periods and the other of a baseline period. Each wave lasted for two weeks. The participants completed the “Well-Being Questionnaire” (WBQ) (J. Sport Exercise Psychol. 14 (1992) 361) and the Profile of Mood States Inventory (Int. J. Sport Psychol. 23 (1992) 93) every evening before their bedtime. All participants took part in both waves of the study and they refrained from all physical activity during the deprivation period.Results: Considerable increases were seen in anger, depression, negative affect, tension, and total mood disturbance. The latter increased by 249% during the deprivation period. More modest, but significant, decreases were observed in positive affect and vigour. No differences were found between the responses of men and women.Conclusion: Advanced martial artists in Shotokan karate report severe mood disturbance during a one-week period of abstinence from training, which is independent of the sex of the individual.     

Diaspora in dialogue: Zimbabwean artists in South Africa

In the last two decades, a continuous migration of people into South Africa from Zimbabwe has increasingly foregrounded intractable philosophical questions concerning the complexities of “displacement”, and “place”, inherent to which are notions of “national identity” (the autochthonous and different peoples) and “home”. Neatly distanced academic reflections often reduce the Zimbabwean migration story to measurable motivations and statistics, and disturbingly, do little to check violently xenophobic associations between émigrés and malignant tropes of societal decay. In this paper, I propose an alternative view, based on the belief that personal narrative and self-reflexive dialogue regarding art-making and its exigencies hold the potential to produce a deeper philosophical insight into the increasingly diasporic human condition, which is needed both to undo malicious stereotyping and to validate the contributions made by migrant identities to the decolonial project. The article engages with three Zimbabwean artists living and working in post-apartheid South Africa, Ronald Muchatuta, Gerald Machona and Vulindlela Nyoni. Just as our artworks act as invitations to enter into difficult, heterotopic spaces, I invite you into a self-reflective textual space that enacts the ambivalence and uncertainty at the beginning of an investigation in which questions are generated. My aim is not to offer neatly packaged answers, but to open the reader, through the text as artwork, to an experience of the dialogical fissures, gaps, silences and contradictions that (in a way foreclosed to any coherent account) reveal the traumatic ambivalence of diaspora experiences in the moment of “being unspoken”.     

Local and global processing in savant artists with autism

We explored the hypothesis that an enhanced local processing style is characteristic of both art and autism spectrum disorder (ASD) by examining local and global processing in savant artists with ASD. Specifically, savant artists were compared against non-talented individuals with ASD or mild/moderate learning difficulties (MLD), as well as artistically talented or nontalented students, on the block-design task and meaningful and abstract versions of the embedded figures test (EFT). Results demonstrated that there were no significant differences between the meaningful and abstract versions of the EFT, in any of the groups. This suggests that the primary process governing performance on this task was perceptual (local), rather than conceptual (global). More interestingly, the savant artists performed above the level of the ASD and MLD groups on the block-design test, but not the EFT. Despite both the block-design task and the EFT measuring local processing abilities, we suggest that this result is due to the block-design task being an active construction task (requiring the conversion of a visual input into a motor output), whereas the EFT is a passive recognition task. Therefore, although an enhanced local processing style is an important aspect of savant artistic talent, motor control also appears to be a necessary skill.     

Using auditory feedback to improve striking for mixed martial artists

The purpose of this study was to evaluate auditory feedback to increase the effectiveness of throwing a “right cross.” Auditory feedback, implemented by the mixed martial arts coach, was evaluated in multiple baselines across participants design with four mixed martial arts students, two males and two females, 25–54 years old. The target behavior was the percentage of correct steps in the 20‐step task analysis of throwing a right cross. In the auditory feedback procedure, the coach used a handheld clicker and make the clicking sound as a reinforcer each time the participant performed a specific step in the task analysis correctly. This process continued until all steps were performed correctly. The percentage of correct steps of the right cross improved substantially during assessment sessions following the introduction of the auditory feedback and maintained at 90% or more for all participants during follow‐up. Improvements were also noted in the social validity assessment.     

Personality differences between established and less-established male and female creative artists

Past research on personality constructs of creative individuals has focused on men rather than women and has neglected the essentially social aspect of being considered creative. Therefore, personality variables of 60 male and 60 female creative artists were described using the California Psychological Inventory (CPI). Male and female groups were further divided equally into two subgroups reflecting a difference in degree of social acceptance of their work. Relationships between the four groups were explored by multiple discriminant analysis. The major conclusion noted was that creative females tend to be more like their creative male counterparts, in terms of CPI scale variation, than are males and females in general.     

Imaging,imagining and representation: Muslim visual artists in NYC

This article is based on ethnographic fieldwork I conducted with Muslim visual artists in New York City. It assumes that art is a particular medium or media form that not only gives us insight into the processes of creative expression, but helps us understand the relationship between global media events and their localized practices. For Muslim visual artists, and Muslims in general, “9/11” has become a significant marker of time in thinking about issues of identity, belonging and representation. Even in the art worlds, the larger tropes of Islam/Muslims—terrorism, violence, veiling, patriarchy, the Middle East—become the normative frames and images within and against which Muslim artists do their work. I outline the ways Muslim artists as cultural producers are not only contesting art world boundaries in terms of new and emerging forms of identification, but also the various sites where they are being forged. Muslim artists explore new ways of thinking about being Muslim, not necessarily as a theological or aesthetic unity, but as a minority identification in the West/America. I focus on the work of two artists, Nigerian-born Fatimah Tuggar and Pakistani-born Shahzia Sikander.     

Exploring social television,opinion leaders,and Twitter audience reactions to Diane Sawyer's coming out interview with Caitlyn Jenner

With increasing visibility in both fictional and nonfictional media, transgender individuals have become a staple of the media landscape. Nonetheless, the general public has been slow to warm to transgender individuals and the rights of this community of people. The present study explored the audience reception to Caitlyn Jenner's coming out interview with Diane Sawyer. Examining Twitter conversations as part of a social television experience, this paper focuses on the types of words and phrases used in response to the interview, the themes that were present in the conversation, and the opinion leaders who helped to shape the discussion. Co-occurrence of themes was also explored. Results indicated an overwhelmingly positive response from live tweeters watching Jenner's coming out interview, led by a small but influential group of celebrities and media personalities such as Oprah Winfrey and Perez Hilton. Top themes included support, gender, journey to truth, family drama, and bravery. The results are positioned within an exploration of the social nature of television viewing and reception of transgenderism by mainstream audiences.