Integrating art historical, psychological, and neuroscientific explanations of artists' advantages in drawing and perception.

Kozbelt, Aaron; Seeley, William P.

doi:10.1037/1931-3896.1.2.80

Cited by 87 publications

(117 citation statements)

References 68 publications

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“…In addition, when simultaneously entered in a regression model containing all five FFMQ subcales as individual predictors, together with the control variables (aesthetic fluency and sex), we found that Non-reactivity positively predicted aesthetic responses, and Non-judging negatively predicted aesthetic responses. In line with previous studies we found an expertise effect, where participants who were more knowledgeable about the arts in general reported more aesthetic experiences (Kozbelt & Seeley, 2007). In addition we found that music was the most frequently reported domain, also in agreement with previous studies .…”

Section: Discussionsupporting

confidence: 82%

“…Expertise in art and music, and gender, have been found to influence the frequency of aesthetic responses (Kozbelt & Seeley, 2007); those scoring high in aesthetic expertise, and women, have reported relatively higher aesthetic experience scores .Together these studies provide strong evidence that individual differences influence the frequency of aesthetic responses to the arts. Nevertheless, this field of research remains in its infancy.…”

Section: Introductionsupporting

confidence: 49%

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The Observing Facet of Trait Mindfulness Predicts Frequency of Aesthetic Experiences Evoked by the Arts

Harrison

Clark

2016

Mindfulness

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Conflict of interest:Neil R. Harrison declares that he has no conflict of interest.Dan P.A. Clark declares that he has no conflict of interest.Trait mindfulness predicts frequency of aesthetic experiences 2 Abstract Mindfulness can foster an enhanced sensitivity to internal and external impressions, which could result in heightened subjective responses to works of art. So far though, very little is known about the connection between mindfulness and aesthetic responses to the arts, therefore the current study aimed to investigate whether there was an association between trait mindfulness and how often people report aesthetic experiences. We hypothesized that the Observing facet of mindfulness would positively predict the self-reported frequency of aesthetic experiences (aesthetic chills, feeling touched, and absorption). Participants in an online study (N = 207) completed the Five Factor Mindfulness Questionnaire, an Aesthetic Experiences scale in relation to the area of the arts a participant encountered most frequently in their daily life, and a measure of aesthetic expertise. Controlling for aesthetic expertise and sex, linear regression revealed that the Observing facet of mindfulness was positively associated with aesthetic experience, as predicted. Non-reactivity positively predicted aesthetic experience, while Non-judging was negatively associated with aesthetic experience. Potential explanations for the association between these three facets of trait mindfulness and aesthetic responses are discussed in relation to information-processing models of aesthetic experience. The findings provide preliminary support for the premise that levels of dispositional mindfulness are associated with the frequency of intense emotional responses to the arts, and recommendations for further research studies are outlined.Trait mindfulness predicts frequency of aesthetic experiences 3

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Section: Discussionsupporting

confidence: 82%

Section: Introductionsupporting

confidence: 49%

The Observing Facet of Trait Mindfulness Predicts Frequency of Aesthetic Experiences Evoked by the Arts

Harrison

Clark

2016

Mindfulness

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“…This should go some way to addressing the inconsistencies in previous research. In addition, we will be able to specifically address the issue of whether artists' advantages are predominantly a product of EXPERTS IN VISUAL COGNITION 9 top-down (Kozbelt & Seeley, 2007) or bottom-up (Cohen & Bennett, 1997) influences on visual perception.…”

Section: Experts In Visual Cognitionmentioning

confidence: 99%

Artists as experts in visual cognition: An update.

Chamberlain¹,

Drake²,

Kozbelt³

et al. 2019

Psychology of Aesthetics, Creativity, and the Arts

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The question of whether and how visual artists see the world differently than non-artists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issue accumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and non-art students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed non-art students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from non-art students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed.

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“…In addition, drawing or painting experience also affects retrieval of visual information and the level of accuracy and precision of realistic drawing. This suggests that the difference between a novice and an expert lies not only in drawing skills, but also in their cognitive abilities (e.g., Cohen & Bennett, 1997;Cohen & Jones, 2008;Kozbelt, 2001;Kozbelt & Seeley, 2007;Mitchell, Ropar, Ackroyd, & Rajendran, 2005;Schlewitt-Haynes, Earthman, & Burns, 2002). The literature indicates that previous drawing experience might have an impact on 2D positioning techniques; this study aims to confirm that correlation.…”

Section: Introductionmentioning

confidence: 56%

The Relationship between 2D Positioning Ability and Realistic Drawing Skill

Huang¹,

Chen²

2017

ADR

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Realistic drawing ability is a fundamental human trait. However, the cognitive constituents of this ability are poorly understood. This study aims to evaluate the contribution of Two-dimensional (2D) positioning skills in the performance of realistic drawing. 2D positioning refers to an important observation technique employed by artists to locate the correct position of an object in its representation on a blank canvas. Two different types of 2D positioning techniques are considered: absolute positioning (using the canvas boundaries as positioning reference) and relative positioning (using already-drawn components as reference). We used a line-arrangement experimental task to evaluate the positioning abilities of experts and novices; we further measured their realistic drawing ability in a realistic drawing task. Pearson correlation-coefficient analysis showed that both positioning abilities are positively correlated with realistic drawing abilities, but that the two positioning abilities are not correlated. While expert participants were found to be significantly better at absolute positioning than the novice, their relative positioning performance does not differ from that of the novice. These results suggest that absolute and relative positioning are two independent observation techniques, and that experience might improve absolute positioning skills. This implies that absolute positioning is a more advanced technique requiring both training and practice.

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Integrating art historical, psychological, and neuroscientific explanations of artists' advantages in drawing and perception.

Cited by 87 publications

References 68 publications

The Observing Facet of Trait Mindfulness Predicts Frequency of Aesthetic Experiences Evoked by the Arts

The Observing Facet of Trait Mindfulness Predicts Frequency of Aesthetic Experiences Evoked by the Arts

Artists as experts in visual cognition: An update.

The Relationship between 2D Positioning Ability and Realistic Drawing Skill

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