The effects of presentation time on preference for curvature of real objects and meaningless novel patterns

Objects with curved contours are generally preferred to sharp‐angled ones. In this study, we aim to determine whether different presentation times influence this preference. We used images of real objects (experiment 1) and meaningless novel patterns (experiment 2). Participants had to select one of two images from a contour pair, curved and sharp‐angled versions of the same object/pattern. With real objects, the preference for curved versions was greatest when presented for 84 ms, and it faded when participants were given unlimited viewing time. Curved meaningless patterns were preferred when presented for 84 and 150 ms. However, in contrast to real objects, preference for meaningless patterns increased significantly in the unlimited viewing time condition. Participants discriminated poorly between the two versions (curved and sharp‐angled) of the meaningless patterns in the 84‐ and 150‐ms presentations (experiment 3). Therefore, in short times with meaningless patterns, participants selected mostly the curved version without being aware of the difference. In conclusion, presentation time, type of stimulus, and their interaction influence preference for curvature.     

The Creative Dilemma: The Influence of Schiller''s Aesthetics on the Life and Work of Otto Rank

The impact of philosophical wisdom on the pioneers of psychoanalytic work is presented in this article, in particular the influence of Schiller's aesthetics on the theoretical and clinical work of Otto Rank. The essay will compare and contrast Schiller's major themes—in particular his notions of the aesthetic impulse, will, and his concept of harmonia—with aspects of Rank's contributions, namely, his notions of creativity and the art of living. Drawing from Schiller's aesthetic vision, Rank's notion that art and play are foundational sources for healing is described in the author's own clinical work.     

The wisdom of nature in integrating science, ethics and the arts

This paper deals with an approach to the integration of science (with technology and economics), ethics (with religion and mysticism), the arts (aesthetics) and Nature, in order to establish a world-view based on holistic, evolutionary ethics that could help with problem solving. The author suggests that this integration is possible with the aid of “Nature’s wisdom” which is mirrored in the macroscopic pattern of the ecosphere. The corresponding eco-principles represent the basis for unifying soft and hard sciences resulting in “deep sciences”. Deduction and induction will remain the methodology for deep sciences and will include conventional experiments and aesthetic and sentient experiences. Perception becomes the decisive factor with the senses as operators for the building of consciousness through the subconscious. In this paper, an attempt at integrating the concepts of the “true”, the “right” and the “beautiful” with the aid of Nature’s wisdom is explained in more detail along with consequences. The author is a bioprocess engineer with a research interest in environmental issues.     

Philosophical assumptions in Freud, Jung and Bion: questions of causality

The historical development of concepts of causality in philosophy is described. Since the Enlightenment and the growth of science, exponents of the two most important concepts, determinism and teleology, have been in conflict. At the inception of psychoanalysis at the end of the nineteenth century this conflict was particularly intense. It was the cause of the first major schism in psychoanalysis between Jung and Freud. Psychoanalytic theorists have continued to disagree over this issue. Post-modernist philosophy has abolished all metaphysics and therefore called into question concepts of psychic causality. Parallel to, but uninfluenced by this development, Bion has developed a psychoanalytic conceptualization which may be seen as transcending causality. The clinical and theoretical implications of these developments are described.     

Creating Another Identity: Aging Actresses in the Eighteenth Century

In the eighteenth century, it was usual for actors and actresses to build a repertoire of roles, and to keep possession of particular parts once they had created them, sometimes throughout their careers. They were, therefore, as likely to be identified with the characters they played as they were either for themselves or for their ability to create such dramatis personae. Yet, paradoxically, their personal identities, formed not only by character or personality and ability, but also by appearance and reputation, could affect the way in which their performances on stage were received by their audiences and critics. During a century in which identity and status were often worn externally, eighteenth-century actresses were keenly admired for their appearance, especially when young. As still happens today, appearance and ability were often juxtaposed by the critics in their reviews of actresses' performances, which mark the culmination of the creative process of acting. An examination of the working lives of eighteenth-century actresses to discover the ways in which their appearance and ability became integral to both their identity and the processes they used, as well as how their choice of roles could affect their reputation and even their health as they aged, provides not only intriguing information about the relationship between the creative processes of acting and the identity of the actress, but also an historic, thereby determined, cultural society of lived bodies, which can help to inform some of the current attitudes toward aging and identity, particularly in female performers.     

A Holistically Deweyan Feminism

The argument that a holistic analysis of Dewey's work, drawing not only on the major portions subject to extensive commentary (such as Experience and Nature ) but also on his aesthetics, provides fuel for feminist theorizing is sustained by advertence to the standard commentary and also to new work in aesthetic feminism itself. Sleeper, Rorty, Hickman and Russell are cited, and the recent resurgence of interest in developing the intersection between analytic aesthetics and feminist aesthetics is alluded to. It is concluded that the enterprising feminist theorist may suffer from an embarrassment of riches in attempting to approach Dewey but that such an approach is well worth the effort.     

Vertical and Horizontal Transcendence

Transcendence is explored from two perspectives: the traditional concept wherein the origination of the sacred is "out there," and the alternate concept wherein the sacred originates "here." Each is evaluated from the perspectives of aesthetics and hierarchy. Both forms of transcendence are viewed as essential to the full religious life.     

Contributors to this issue

Reid W. Anderson.
James Astor.
Coline Covington.
Michael Horne.
David Isenman.
Richard Kradin.
Joyce McDougall.
Owen Renik.
Ana Maria Andrade de Azevedo.
Angela Sowa.
Beverley D. Zabriskie.