Learning Painting Styles: Spacing is Advantageous when it Promotes Discriminative Contrast

Repetitions that are distributed over time benefit long‐term retention more than when massed. Recent research has suggested that the advantage of spacing may extend to induction learning‐‐learners were better able to identify the artists of previously unseen paintings when, during training, artists' paintings were spaced (paintings by different artists were interleaved) rather than massed (a given artist's paintings were blocked and presented consecutively). Increasing temporal spacing between paintings while maintaining a presentation sequence that was blocked by artist produced test performance no better than massed presentation (both worse than interleaved presentation) (Experiment 1). Displaying paintings by different artists simultaneously produced test performance as good as interleaved presentation and better than massed presentation (Experiment 2). Our findings argue that spacing benefits perceptual induction learning not because of increased temporal spacing per se but rather because interleaving paintings by different artists enhances discriminative contrast between the artists' styles. Copyright © 2011 John Wiley & Sons, Ltd.     

Seeing the World Differently: An Analysis of Descriptions of Visual Experiences Provided by Visual Artists and Nonartists

ABSTRACT: This project examined nonartists', hobby artists', student artists', and professional artists' responses to questions about the visual games and visual analyses they engaged in as adults and their recollections of these experiences from childhood. Findings indicate that in comparison to nonartists, (a) more artists reported these visual perceptual experiences, (b) artists reported having these experiences more often (particularly as adults), and (c) artists provided better examples of these perceptual experiences that were also more vivid and detailed (particularly as adults). These findings suggest an important connection between artists' reports of past and current visual experiences and actual performance on attention and object perception tasks. Our long-term goal is to understand the importance of visual perceptual abilities to the development of artistic talent.     

On Runco's Problem Finding,Problem Solving,and Creativity

The relative significance of the "golden section" (? 0.618) and other notable proportions was investigated using a new unobtrusive methodology, a modified Fechnerian method of production. Fourteen professional painters each sketched under controlled conditions--"veridically, accurately, and realistically" (but without there being any mention of proportions)--27 complex stimuli presented as slides, thus producing a total of 378 sketches. The stimuli in the slides were (a) vase cutouts of various proportions placed in a mantelpiece context and (b) paintings by Kodama, Mondrian, and Whistler. The golden section and other significant and control proportions (a total of 120 occurrences) were identified beforehand by the researcher in the 27 stimuli. The 378 painters' sketches were subsequently measured by the researcher and two assistants to determine the accuracy with which the various proportions had been reproduced by the painters (a grand total of 1680--14 x 120--possible occurrences). The overall accuracy of rendering the proportions was found to be low for the vases and Kodama's paintings, but increased considerably for the Whistlers and Mondrians. As predicted, the accuracy of rendering the golden section increased from the vases to the Kodamas to the Whistlers and Mondrians. For the latter two, the golden section was in fact the most accurately rendered proportion, followed by 1.00 (found, for example, in the square and circle). The golden section is clearly important in art and to artists, but both its use and detection are subtle and must be pursued with great analytic care. The use of professional artists as informants and research participants may be of considerable help.     

Information Consistency and Perceptual Set: Overcoming the Mental Retardation “Schema”1

Two factors that were thought to promote or inhibit schema-based or stereotypic responding in impression formation were examined in two experiments. Subjects were asked to provide evaluations of artwork supposedly painted by either mentally retarded or nonretarded children. Based on previous research, it was assumed that subjects would expect relatively poor quality artwork from retarded children, which would he consistent with a negative schema that they maintain for this group. It was also predicted that this negative schema would result in cursory examinations and unfavorable evaluations of the retarded artists' artwork, but only when the evaluative conditions were conducive to schematic responding. Specifically, the schema effect was predicted to occur when the artwork was of poor quality and subjects were instructed to provide an overall evaluation of the painting rather than an assessment of its specific characteristics. No derogation was expected when these factors were not present. Results supported these hypotheses. Additional analyses indicated that subjects were conducting a cursory search of the target stimuli when conditions favored schema-based responding.     

Traces of the artist: Sensitivity to the role of the artist in children's pictorial reasoning

In three studies we investigated the question of whether children consider the attributes of the artist (sentience, age level, affective style, emotion) when making judgments about the traces (drawings) made by that artist. In Study 1, 2–5‐year‐old children were asked to find pictures drawn by a machine, an adult, an older and a younger child. Results indicated that children younger than 4 years do not consider the artists' attributes when making judgments, but 4‐ and 5‐year‐olds do. Furthermore, whereas the oldest children were adept at both machine‐person (sentience) and person‐person (age) contrasts, 4‐year‐olds succeeded only with person‐person contrasts. In Study 2, videotaped artists displayed differences in degree of agitation (affective style) while drawing, and this attribute was manipulated in the drawing by varying line density, asymmetry, line overlap and line gap, or all four features, across stimuli. Three‐ and five‐year‐old children judged whether a calm or agitated person drew the stimuli. Findings showed that five‐year‐old, but not 3‐year‐old, children easily completed the task. In Study 3, 3‐, 5‐ and 7‐year‐old children judged whether happy or sad artists made paintings of matching emotional tone. Performance on this picture judgment task was contrasted with performance on three theory of mind tasks (false belief, emotion and interpretative). The results indicated that 5‐ and 7‐year‐olds successfully judged the impact of artists' emotions on paintings, but 3‐year‐olds did not. Performance on the picture task was related to that on the false belief task, but not to the emotion or interpretive tasks. Taken together, the results suggest that children's view of visual symbols includes a consideration of the qualities of the artist beginning around 5 years, and there appears to be a common link between judgments of the mind behind the visual symbol in the picture task and judgments of mental state reasoning in the false belief task.     

Autonomy,Filial Piety,and Parental Authority: A Two-Year Longitudinal Investigation

A 2-year longitudinal study was conducted to test 3 causal models about adolescent autonomy, filial piety, beliefs about parental authority, and obedience in terms of personal, prudential, and multifaceted issues. Four hundred and thirty-six students from 10 junior and senior high schools in Taiwan (boys, n = 223; senior high school, n = 211) participated in the study. Hypothesis 1 predicted that autonomy (individuating autonomy vs. relating autonomy) would positively correlate with beliefs about authority legitimacy and obligation to obey, but was not supported. Hypothesis 2 predicted that filial piety (authoritarian piety vs. reciprocal piety) would positively associate with authority beliefs, and was partially supported. Authoritarian piety showed the positive relation with authority beliefs. Hypothesis 3 predicted that beliefs about authority legitimacy and obligation to obey would positively associate with obedience, and was supported. Hypothesis 4 predicted that age might moderate the structure models across domains, but the results indicated that age did not moderate the structural model in the prudential and multifaceted domains. The overall findings of this study reveal that adolescent beliefs about authority serve as a mediator between authoritarian piety and obedience, suggesting that traditional piety still has an influence on parent–child interaction in today's society.     

Variations in intensity statistics for representational and abstract art, and for art from the Eastern and Western hemispheres

Two recent studies suggest that natural scenes and paintings show similar statistical properties. But does the content or region of origin of an artwork affect its statistical properties? We addressed this question by having judges place paintings from a large, diverse collection of paintings into one of three subject-matter categories using a forced-choice paradigm. Basic statistics for images whose caterogization was agreed by all judges showed no significant differences between those judged to be 'landscape' and 'portrait/still-life', but these two classes differed from paintings judged to be 'abstract'. All categories showed basic spatial statistical regularities similar to those typical of natural scenes. A test of the full painting collection (140 images) with respect to the works' place of origin (provenance) showed significant differences between Eastern works and Western ones, differences which we find are likely related to the materials and the choice of background color. Although artists deviate slightly from reproducing natural statistics in abstract art (compared to representational art), the great majority of human art likely shares basic statistical limitations. We argue that statistical regularities in art are rooted in the need to make art visible to the eye, not in the inherent aesthetic value of natural-scene statistics, and we suggest that variability in spatial statistics may be generally imposed by manufacture.     

Conditions in Which British Artists Achieve Their Best Work

The conditions in which artists produce, or think they produce, their best work seem to have attracted little systematic study, and public support for the visual arts in the United Kingdom is relatively meager. In this study we have tried to identify issues, by means of semistructured interviews, which particularly concerned a sample of 20 professional painters. Their names were taken from lists supplied by the heads of 2 schools of fine art and of an art charity. The material was analyzed according to a form of thematic analysis into themes and subthemes. The results showed great individual differences, but the following were mentioned most often: loneliness, isolation, the toxicity of paints, dyes and solvents, backache, the lack of recognition by the media and fellow artists, depression, and artist's block, which can be prolonged. Suggested remedies included means of having contact with other artists by, for example, more studio complexes and artists' societies; wider access to information on dealing with health hazards; and strategies for overcoming depression and artist's block, such as meditation, dreaming, and looming deadlines for commissions and exhibitions. More research into these and other concerns might eventually help artists to maximize their artistic potential.     

Aging Artists on the Creativity of Their Old Age

Eighty-eight graphic artists in their 60s, 70s, and 80s, nominated as creative by 154 prominent artists, completed an open-ended questionnaire about aging and its effect on their work. Four questions referred to changes in creativity in terms of the quality and quantity of work, sources of new ideas (originality), and approaches to art (style). The artists also were asked about the impact of physical and sensory losses on their work, and on their differences from younger artists. The artists also rated the quality and quantity of their past, present, and anticipated work. A content analysis of the artists' written comments to the 6 questions, and the ratings, gave a highly positive picture of aging's influence on art. Quality and quantity were reported as improving with age, as were the artists' ideas about, and approaches to, art. The presumed handicaps of aging largely were irrelevant or overcome. Few differences were reported with younger artists. Positive views of aging held equally for both men and women, and across the 3 age groups. The optimistic portrait of aging reflected by this sample of visual artists is discussed in terms of its relevance to other kinds of artists and nonartists; the consequences of early retirement; and the place of active older persons, especially artists, in studies of cognitive development.     

Field-dependence, sensation-seeking, and preference of paintings

College students (122 males and 88 females) completed the Group Embedded Figures Test measure of field-dependence, and Sensation-Seeking Scale, and performed preference ratings on 40 slides of paintings. Factor analysis revealed six hypothesized and one unhypothesized preference dimensions that underlay preference ratings of paintings. It was hypothesized that the cognitive structuring ability associated with field-dependence would result in certain relationships between field-dependence and preference for paintings. Further, it was hypothesized that preference for novel, complex, and dynamic experiences, associated with sensation-seeking, would result in certain relationships between sensation-seeking and preference for paintings. For the full sample, three of five hypothesized relationships between field-dependence and preference for paintings were obtained, while three of four hypothesized relationships were found between sensation-seeking and preference for paintings.     

Selling Sex to Radio Program Directors: A Content Analysis of Radio & Records Magazine

This study was designed to examine whether radio format and musical artists' gender predict sexual content in trade advertisements geared toward radio program directors. Advertisements were coded from one of the leading music trade magazines, Radio & Records magazine, between 2002 and 2003. Results indicated that overall women artists used sexual content in trade advertisements more often and to a greater degree than did men. In some cases, advertisements in radio formats with younger demographic markets, such as pop or hip-hop, also used higher levels of sexual content. It is concluded that the organizational context of the commercial music industry helps to perpetuate status differences between women and men artists, which may then bring about a cognitive bias in the field that promotes women artists' over reliance on using sexual content in trade advertisements.     

Empirical evidence supporting the conceptual relatedness of object representations and internal working models

The proliferation of new developmental and clinical theories broadly termed "psychoanalytic" demands a methodology for making systematic comparisons to establish the commonalities and distinctions among them. This article presents an empirical method for the comparative evaluation of such theories. The Mother-To-Child Object Representation / Internal Working Model Q-sort is a 100-item instrument constructed to assess the quality of the prototypical mother's object representation and internal working model of her child at age five. Object relations judges were asked to sort these items for a complex, differentiated, integrated object representation of a five-year-old, attachment judges for a secure, coherent, freely valuing internal working model of a five-year-old. Judges' criterion Q-sorts in each group yielded a composite criterion Q-sort of the quality of the prototypical mother's mental representation of her child according to each group's theoretical perspective. The Spearman-Brown correlation between the two composite criterion Q-sorts was r = .90, p < .001 , suggesting that when confined to a 100-item common vocabulary, judges representing each theoretical construct agreed on the conceptual relatedness of object representations and internal working models. The theoretical constructs of object representations and internal working models share common assumptions in need of further exploration.     

Paintings as Solid Affective Scaffolds

We humans continuously reshape the environment to alter, enhance, and sustain our affective lives. This two‐way modification has been discussed in recent philosophy of mind as affective scaffolding, wherein scaffolding quite literally means that our affective states are enabled and supported by environmental resources such as material objects, other people, and physical spaces. In this article, I argue that under certain conditions, paintings function as noteworthy affective scaffolds to their creators. I begin with a theoretical overview of affective niche construction and affective scaffolding. Then, based on the criteria of robustness, concreteness, and dependability, I specify a more restricted, solid type of affective scaffolding and propound paintings as a cogent case of such. In support of my argument, I highlight two feelings typical to painterly creativity: the feeling of aesthetic resonance and the feeling of fusion. To conclude, I discuss the overall contributions and limitations of my account.     

Artists as experts in visual cognition

This study addressed the question of how artists differ from non-artists in visual cognition. Four perception and twelve drawing tasks were used. Artists outperformed non-artists on both kinds of tasks. Regression analyses revealed common visual processes in the two kinds of tasks and unique variance in the drawing tasks. The advantage of artists over non-artists was apparently in the way they perceptually analysed as well as in how they drew. The perceptual advantage seems to be closely linked to the activity of drawing and is discussed with reference to artists' extensive experience in visual interaction with objects and images during drawing. Artists appear to be more proficient at using visual analytic procedures that are qualitatively similar to those of novices, unlike experts in many other domains.     

The Effects of Single- Versus Multiple-Exemplar Training on Vocal Identification of Artists’ Styles

The purpose of the present study was to assess the effects of single- versus multiple-exemplar training with several artists’ paintings on graduate students’ stimulus generalization to novel paintings by the same artists. Six graduate students participated in this study. Participants studied decks of cards that depicted images of paintings by six different artists. Multiple-exemplar decks included three exemplars of three artists for a total of nine cards, and single-exemplar decks included single exemplars of three artists for a total of three cards. Participants “tested out” when ready following independent study with each deck and were required to score 100 % correct in order to move on to a generalization probe, during which participants were presented with novel exemplars. Overall, four of six participants performed better on the generalization probe after multiple-exemplar training, though in the case of three participants, only to a slight degree. These modest effects suggest that multiple-exemplar training may facilitate stimulus generalization, but that studying with single exemplars may allow for stimulus generalization as well.     

Van Gogh, Chagall and pigeons: picture discrimination in pigeons and humans

The author has previously reported that pigeons can discriminate paintings by different artists. Here, I replicated the previous findings, carried out additional tests and compared discrimination by pigeons with that of humans. In Experiment 1, pigeons were trained to discriminate between paintings by Van Gogh and Chagall. After training, the subjects were tested with different paintings by the same artists. The subjects showed generalization to these paintings. The subjects maintained their discriminative ability for black-and-white paintings and partially occluded paintings. When they were tested with mosaic paintings, the number of correct responses decreased, depending on the level of processing needed. In Experiment 2, human subjects were tested with the same paintings. The subjects showed generalization and decrement of correct responses depending on the degree of mosaic processing. These observations suggest that the visual cognitive function of pigeons is comparable to that of humans. The convergence of higher visual cognition between the two species may stem from similar selection pressures on avian ancestors and our ancestors through their evolution. Accepted after revision: 19 August 2001 Electronic Publication     

Goal distance in time and its effects on the relations between achievement motives and performance

Based on Miller's theoretical model, it is predicted that (1) pupils high in motive to approach success and low in motive to avoid failure (approach-oriented) would increase and (2) those with the opposite motive constellation (avoidance-oriented) would decrease their level of performance as a distant future goal approaches in time. These hypotheses were supported when number of problems solved correctly was used as measure of level of performance, while only Hypothesis 1 received support when number of problems attempted was employed. The hypothesis (3) that avoidance-oriented pupils would have a steeper slope of goal gradient for performance than the approach-oriented pupils, received no support.     

Value From Adversity: How We Deal With Adversity Matters

Participants in our study worked on an anagram task to win a prize while aversive noise played in the background. They were instructed to deal with the noise either by "opposing" it as an interference or by "coping" with the unpleasant feelings it created. The strength of attention to the opposing or coping response to adversity was measured by poorer recognition of the content of the background noise. For the "opposing" participants, it was predicted that the more they attended to opposing the interference, they stronger they would engage in solving the anagrams to win the prize, which would increase the prize's value. For the "coping" participants, it was predicted that the more they attended to coping with their unpleasant feelings, the weaker they would engage in solving the anagrams to win the prize, which would decrease the prize's value. The results supported both predictions.     

Continuity in mind-mindedness from pregnancy to the first year of life

Relations between parents' representations of the unborn child and postpartum infant-parent interaction were investigated in 25 couples and 3 solo mothers. In the last trimester of pregnancy, participants reported on involvement with the fetus and predicted what the unborn child would be like at age 6 months. Mothers (n=21) and fathers (n=17) were observed during separate interactions with their 6-month olds, which yielded measures of their tendency appropriately to interpret their infants' internal states (mind-mindedness). Parents' involvement with the fetus was unrelated to antenatal predictions and to postnatal mind-mindedness. Parents who had predicted more about the unborn child's characteristics were more likely to comment appropriately on their infants' internal states during infant-parent interaction. For fathers, overall antenatal predictions were also positively associated with misinterpretations of their infants' thoughts and feelings. Findings are discussed with reference to mind-mindedness being governed by caregiver-centered factors and differences between mothers and fathers in caregiving practices.     

Emotional stimuli, divided attention, and memory

The emotion-memory literature has shown that negative emotional arousal enhances memory. S. A. Christianson (1992) proposed that preattentive processing could account for this emotion-memory relationship. Two experiments were conducted to test Christianson's theory. In Experiment 1, participants were exposed to neutral and negative arousing slides. In Experiment 2, participants were exposed to neutral, negative arousing, and positive arousing slides. In both experiments, the aforementioned variable was factorially combined with a divided-attention or non-divided-attention condition. The authors predicted that, in contrast to the nondivided condition, dividing attention would adversely impact neutral and positive stimuli more than negative stimuli. The hypothesis was supported; participants recalled more high negative-arousal slides than positive or neutral slides when their attention was divided rather than nondivided.