Is Stand-Up Comedy Art?

Stand-up so closely resembles—and is meant to resemble—the styles and expectations of everyday speech that the idea of technique and technical mastery we typically associate with art is almost rendered invisible. Technique and technical mastery is as much about the understanding and development of audiences as collaborators as it is the generation of material. Doing so requires encountering audiences in places that by custom or design encourage ludic and vernacular talk—social spaces and third spaces such as bars, coffee houses, and clubs. Cultivating uncultivated speech and cultivating real audiences in found settings form the background of developing the stand-up comedian, neither of which lend themselves to the conservatory tradition we think of when we think of the development of artists. This article addresses two areas of the overall question of stand-up as art, starting with the ontological question of stand-up comedy: if it is an art where is it located, and what we may mean by “artworks” and “artworld” in stand-up comedy? Then I consider whether stand-up comedy as practiced can be reconciled with several recent definitions for art and note some of the special conditions and contexts for stand-up.     

Createativity and Mood: Towards a Model of Cognitive Mediation

Empirical and biographical evidence reveals that the highly creative are more likely to experience mental health problems; most commonly depression and particularly within artistic fields. Cognitive theories of creative thinking suggest that artistic creativity may be associated with a divergent style of thinking, which is distinguished by specific differences with respect to logical appraisal skills. As similar patterns of appraisal are frequently found in those experiencing depression, it is suggested that appraisal may be a mediating feature between creativity and affect. This hypothesis is tested in the present study. Creativity, cognitive appraisal patterns and mood were measured in 104 undergraduate students (N = 36 art and 68 science) by standardised assessments. In keeping with predictions, art students were found to be more creative, experienced lower mood, and displayed greater degrees of distortion and bias in their appraisals.     

Integrated Support from Problem Structuring through to Alternative Evaluation Using COPE and V·I·S·A

Work in the field of multiple criteria analysis has generally focused on evaluation procedures, taking as its starting point a well-defined problem with specified alternatives and criteria. However, in reality, problems are rarely so well-structured; hence, in order to usefully support decision making in practice, multiple criteria analysts need to address the issue of problem structuring. In this respect, much can be learned from the body of work stemming from operational research and systems in the U.K., known collectively as problem-structuring methods. In this paper we describe a study which sought to integrate one of these approaches, SODA (strategic options development and analysis), using the COPE software for cognitive mapping, with multiple criteria evaluation based on a multi-attribute value function using V·I·S·A. The study took the form of a 2 day action research workshop to explore the strategic direction of the Supplies and Commercial Services Department of a large U.K. NHS Hospital Trust and to develop an action plan consistent with the agreed direction. Even though the workshop was intended to be exploratory, from the point of view of both the facilitators and the participants, it enabled the group to make progress towards the definition of a strategic direction and led to an increased understanding and awareness of the issues. Drawing on this experience, we comment in general on the potential benefits arising from the integration of these two approaches and suggest fruitful areas for future research and development of the software tools and associated methodologies. © 1997 by John Wiley & Sons, Ltd. J. Multi-Crit. Decis. Anal. 6 : 115–130 (1997) No. of Figures: 9. No. of Tables: 0. No. of References: 37.     

UNDERSTANDING RESPONSE BEHAVIOR TO AN ONLINE SPECIAL TOPICS ORGANIZATIONAL SATISFACTION SURVEY

In this study we sought to better understand response intentions and response behavior to an online special topics university satisfaction survey to not only advance theory but to better inform practice on the meaning and implications of nonresponse to their efforts. Using the Rogelberg, Luong, Sederburg, and Cristol (2000) response behavior model, data collected in this 2-wave field study (394 students, 50% men) supported most of the framework's major assertions, supported our proposed extensions, and resulted in a few unexpected findings. Overall, to understand response behavior to an online special topics organizational survey, one must take into consideration factors related to technology, attitudes toward surveys in general, satisfaction with the specific topic in question, and response intentions.     

Revisiting Arnheim and Gombrich in Social Scientific Perspective

This article revisits an earlier social scientific analysis of the thought of Rudolf Arnheim and E. H. Gombrich. Adding to the earlier analysis in terms of social ontology and historical development is an analysis of the sufficiency of perception to yield information about the world, both in ordinary and in artistic contexts. Gombrich held to an idea of perception as hypothesis testing, and it joins with Popper's philosophy in the deferred warrant of the perceptual image. Arnheim, instead, followed the Gestalt theorists to believe that each stage of perceptual experience was incorrigible according to the given conditions. Consequently, Arnheim felt confident addressing the essence of art, while Gombrich remained anti‐essentialist. Ultimately, Gombrich's Popperian empiricism attenuates realism, whereas Arnheim's gestaltism seeks to build a bridge between ordinary and scientific observation.     

Formal thinking about correlation

Twenty-five adults were administered two tasks involving the data of 12,2X2 matrices. In the first, subjects were invited to make decisions on the basis of data which was presented as involving causal, one-way relationships. Four groups of subjects were distinguished in the level of their operational thinking. In task 2 the subjects were invited to make judgements on identical data, but presented as involving two-way noncausal relationships. Results showed changes in the level of thought: subjects employing concrete operations in task 1 regressed to lower levels of thought; subjects employing transitional formal thought in task 1 advanced to fully formal thought in task 2. It was concluded that the first task imposed a ceiling effect on the thought levels of the latter subjects. Results showed that the level of thought employed was a function of the frequency of the data in the cells of the matrices and that the emergence of illogical thought was related to task difficulty.     

The ego in Lucy R: notes on conflict in one of Freud's first cases

This paper focuses on Freud's discussion of the case of 'Lucy R' presented in Studies on Hysteria (Breuer and Freud, 1895). It is possible to see here a notion of the 'ego' being employed by Freud many years before the 1920 'turning point' in his work, and an account of the ego as a 'dominant mass of ideas' is used to explain how psychical conflicts for his patient are transformed into physical symptoms. The image of the ego defending itself against an 'incompatible' idea structures Freud's own account, and it also structures recent critical commentaries on Freud's work from within feminist writing and studies of rhetoric. Some consequences for present-day psychodynamic practice are reviewed in the course of the discussion.