Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

Baars (1988, 1997) has proposed a psychological theory of consciousness, called global workspace theory. The present study describes a software agent implementation of that theory, called ''Conscious'' Mattie (CMattie). CMattie operates in a clerical domain from within a UNIX operating system, sending messages and interpreting messages in natural language that organize seminars at a university. CMattie fleshes out global workspace theory with a detailed computational model that integrates contemporary architectures in cognitive science and artificial intelligence. Baars (1997) lists the psychological (...) ''facts that any complete theory of consciousness must explain'' in his appendix to In the Theater of Consciousness; global workspace theory was designed to explain these ''facts.'' The present article discusses how the design of CMattie accounts for these facts and thereby the extent to which it implements global workspace theory. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social and (...) political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

PurposeTo explore the mindfulness practice, its long-term effects, facilitators and barriers, in clinical clerkship students 2 years after participation in an 8-week mindfulness-based stress reduction training.MethodA qualitative study was performed by semi-structured in-depth interviews with 16 clinical clerkship students selected by purposive sampling. Students had participated in a MBSR training 2 years before and were asked about their current mindfulness practice, and the long-term effects of the MBSR training. Thematic analysis was conducted using the constant comparison method. Data saturation was (...) reached after 16 interviews.ResultsMost interviewees were still engaged in regular, predominantly informal, mindfulness practice, although some discontinued mindfulness practice and reported an “unchanged lifestyle.” Three main themes came forward; “focused attention and open awareness” during daily activities as core elements of long-term mindfulness practice; “changes in behavior and coping” that resulted from taking a pause, reflecting, recognizing automatic behavioral patterns and making space for a conscious response; “integration in personal and professional life” by enhanced enjoyment of daily activities, improved work-life-balance and making different career choices. Barriers and facilitators in starting and maintaining mindfulness practice were understanding and intention as “pre-conditions”; practical, personal, and professional factors of students in maintaining practice.ConclusionTwo years after participation in a MBSR training, many interviewees were still engaged in mindfulness practice contributing to both personal and professional changes. In light of the high clerkship demands, MBSR training could be a valuable addition to medical curricula, supporting medical students in developing necessary competencies to become well-balanced professionals. (shrink)

Metaphors abound in both the arts and in science. Due to the traditional division between these enterprises as one concerned with aesthetic values and the other with epistemic values there has unfortunately been very little work on the relation between metaphors in the arts and sciences. In this paper, we aim to remedy this omission by defending a continuity thesis regarding the function of metaphor across both domains, that is, metaphors fulfill any of the same functions in science as they (...) do in the arts. Importantly, this involves the claim that metaphors in arts as well as science have both epistemic and aesthetic functions. (shrink)

In his new book, eminent psychologist - Daniel Stern, explores the hitherto neglected topic of 'vitality'. Truly a tour de force from a brilliant clinician and scientist, Forms of Vitality is a profound and absorbing book - one that will be essential reading for psychologists, psychotherapists, and those in the creative arts.

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Is there progress in art? The question is one which most people would answer vehemently in the negative without giving it much thought. And yet, how is one to account for changes in artistic style? And what is one to think about modern art, which still seems baffling to many in comparison with traditional figurative art? Suzi Gablik's challenging argument is that art, like science, has a history, order and structure which can be called progressive. Progress, however, is not a (...) question of moral or esthetic improvement but involves a cognitive 'growth' of artistic styles and is related to transformations in modes of thinking. The model used for the argument is based on principles of developmental psychology advanced by the famous and revolutionary Swiss experimental psychologist Jean Piaget. By demonstrating the way in which art is linked with the acquisition of stages of development: increasingly complex perceptual and logical structures lead to mental organizations which are increasingly dominated by scientific, rationalistic and conceptual modes of thinking in contrast to earlier more mystical ones. In this light, an attempt is made to explain the shift in art from figurative or iconic representation, where the image resembles the object to which it refers, towards non-representational art which is abstract and conceptual in organization. Three sections of illustrations demonstrate, through revealing juxtapositions, the course of artistic development from ancient and medieval times, through the Renaissance, to contemporary art. -- from dust jacket. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the (...) investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

Experiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show (...) that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art. (shrink)

The idea of happiness boomed in the public as well as in the academic domain over the last decade and has not reached its peak yet. However, the understanding of happiness as being the utmost goal of human beings is hardly new. Philosophers have discussed this topic, under various terms, throughout history. One of the most recent philosophical concepts has been conducted by Wilhelm Schmid in his book Philosophie der Lebenskunst [Philosophy of the Art of Living], which is a theory (...) about the good and beautiful life from a modern perspective under consideration of the philosophical history of this topic. Martin Seligman presented the ‘happiness formula’ in his book Authentic Happiness in 2002 and research about happiness, subjective well-being and life satisfaction began to form the field of positive psychology. This article provides a critical comparative analysis of philosophical concepts of the art of living and positive psychological research from an educational point of view. It will explore the extent of common ground between these disciplines, where they differ, and where they might be complementary. (shrink)

This article argues that the so-called Charge from Psychology does not refute the project of defining art. The charge entails that the project is misguided because it falsely presupposes that the concept of art is classically structured. The charge is challenged by distinguishing philosophers’ normative from psychologists’ descriptive aims. Unlike what many philosophers of art themselves believe, defining art is a normative project, since proposed definitions formulate conditions under which the concept of art should be applied, rather than is (...) applied. Therefore, it is not inherently problematic that definitions do not fit empirical data: a normative definition need not reflect how people categorize items as art. In the end, this article shows the significance of empirical data for definitions of art. (shrink)

It has recently been suggested that research in neuroscience of art has failed to bring art into focus in the laboratory. Two general arguments are brought to bear in the regard. The common perceptual mechanisms argument observes that neuroscientists working within this field develop models to explain art relative to the ways that artworks are fine-tuned to the operations of perceptual systems. However, these perceptual explanations apply equally to how viewers come to recognize and understand art and nonart objects and (...) events. Therefore these explanations fail to disambiguate artworks from other things. They fail to locate art. This observation points to a deeper problem. What interests us in art is how what we perceive has been used to show us what the work represents. Our understanding of art is governed by a range of productive and evaluative normative conventions that govern how we ought to look at a work and evaluate how it was made. The normative dimension of appreciation argument suggests that these aspects of our engagement with artworks lie outside the scope of neuroscientific explanations of art. This chapter provides a sketch of a diagnostic recognition framework for engaging art that resolves both problems and helps explains how artworks function within the social institution of the artworld to facilitate a communicative exchange between artists and consumers. (shrink)

In _The Subject of Aesthetics_ Tone Roald develops a psychology of art based on people’s descriptions of their own engagement with visual art.

BackgroundUnderstanding representations of disease in various art genres provides insights into how patients and health care providers view the diseases. It can also be used to enhance patient care and stimulate patient self-management.MethodsThis paper reviews how cardiovascular diseases are represented in novels, films, and paintings: myocardial infarction, aneurysm, hypertension, stroke, heart transplantation, Marfan’s disease, congestive heart failure. Various search systems and definitions were used to help identify sources of representations of different cardiovascular diseases. The representations of the different diseases were (...) considered separately. The Common Sense Model was used a theoretical model to outline illness perceptions and self-management in the various identified novels, films, and paintings.ResultsMyocardial infarction followed by stroke were the most frequently detailed diseases in all three art genres. This reflects their higher prevalence. Representations ranged from biomedical details through to social and psychological consequences of the diseases.ConclusionsArtistic representations of cardiovascular diseases reflect cognitions, emotions, and images of prevalent disease. These representations shape views and behaviour of ill and healthy persons regarding heart diseases. As these representations are amenable to change, they deserve further research, which may be instrumental in improving the quality of life of persons struck by cardiovascular diseases. Changing illness perceptions appears to be a method to improve self-management and thereby quality of life in patients with various cardiovascular diseases. (shrink)

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an ‘epistemic arc’, consisting of three parts (curiosity, epistemic action and aha experiences), which we (...) cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call ‘aesthetic’. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters—at the expense of affective aspects—and on closure and uncertainty minimization (order)—at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. -/- This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’. (shrink)

In this article I argue that a high capacity for courage, in the sense of the strength of character that enables one to face distress, angst or psychological pain, is required of Hume’s ideal critics just as the other well-known five characteristics are. I also explore the implications of my proposal for several aspects of Hume’s aesthetics, including the one brought into relief by Shelley’s interpretation of Hume along the lines of distinguishing between the perceptual and affective stages in aesthetic (...) appreciation. (shrink)

A study of the psychology of demoralization affecting university faculty in the liberal arts. This form of demoralization is not adequately understood in terms of the concept of career burnout. Instead, demoralization that affects university faculty in the liberal arts requires a broadened understanding of the historical and psychological situation in which these professors find themselves today.

A psychoanalytic psychology and art of unconscious emotion -- An inward turn : Vienna 1900 -- Exploring the truths hidden beneath the surface : origins of a scientific medicine -- Viennese artists, writers, and scientists meet in the Zuckerkandl Salon -- Exploring the brain beneath the skull : origins of a scientific psychiatry -- Exploring mind together with the brain : the development of a brain-based psychology -- Exploring mind apart from the brain : origins of a dynamic (...) psychology -- Searching for inner meaning in literature -- The depiction of modern women's sexuality in art -- The depiction of the psyche in art -- The fusion of eroticism, aggression, and anxiety in art -- A cognitive psychology of visual perception and emotional response to art -- Discovering the beholder's share -- Observation is also invention : the brain as a creativity machine -- The emergence of twentieth-century painting -- A biological science of the beholder's visual response to art -- The brain's processing of visual images -- Deconstruction of the visual image: the building blocks of form perception -- Reconstruction of the world we see : vision is information processing -- High-level vision and the brain's perception of face, hands, and body -- Top-down processing of information : using memory to find meaning -- The deconstruction of emotion : the search for emotional primitives -- The artistic depiction of emotion through the face, hands, body, and color -- Unconscious emotions, conscious feelings, and their bodily expression -- A biological science of the beholder's emotional response to art -- Top-down control of cognitive emotional information -- The biological response to beauty and ugliness in art -- The beholder's share : entering the private theater of another's mind -- The biology of the beholder's share : modeling other people's minds -- How the brain regulates emotion and empathy -- An evolving dialogue between visual art and science -- Artistic universals and the austrian expressionists -- The creative brain -- The cognitive unconscious and the creative brain -- Brain circuits for creativity -- Talent, creativity, and brain development -- Knowing ourselves : the new dialogue between art and science. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

Art, Truth, and Time is a book which endeavours to show that artistic creation depends as much upon the body, as it does the soul, and the soul's intelligent use of the body's way of understanding. When there occurs a complete disjunction between the two, as occurs in much of contemporary art, art is stripped of its inherent beauty, its wholeness. In this book the author considers the nature of art from its earliest manifestations to the present day, endeavouring to (...) show that its truth transcends time and place through the unity of soul and body and man's awareness of this unity, not a barren unity, but a unity which is profoundly creative. (shrink)

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, (...) and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positiveandnegative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories. (shrink)

In this article, we demonstrate empirically that imagination is fundamental in experiences of visual art. We do so through phenomenological interviews and analysis in dialogue with works of the phenomenologists Mikel Dufrenne, Edmund Husserl and Maurice Merleau-Ponty. We challenge Dufrenne’s delimiting of imagination to a pre-reflective power of synthesis, and argue in favor of a more comprehensive psychological understanding of imagination, which encompasses psychological differences in actual lived experience. Our analysis shows how imagination is necessarily part of experiences with visual (...) art, as it provides ways of exploring and unfolding the expressions of the work of art. Such experiences are therefore characterized by a close relation between imagination and perception, as well as an affective lining which belongs to our imaginings. (shrink)

Aim: The aim of this paper is to present the development and evaluation of an art psychotherapy brief treatment method for complex depression for patients referred to mental health services.Background: Art Psychotherapy literature describes a range of processes of relational change through the use of arts focused and relationship focused interventions. Complex depression has a prevalence of 3% of the population in the West and it is recorded that in 2016 only 28% of that population were receiving psychological treatment. This (...) study was developed to test the hypothesis of whether an accessible and acceptable approach to the treatment of complex depression could be developed in relation to existing evidence-based practice within mental health services.Method: The United Kingdom Medical Research Council phased guidance for complex intervention development was used to develop the intervention. The process included producing a literature overview, systematic description of clinical practice, including a logic model and a clinical protocol. The art psychotherapy protocol described an arts-based dynamic interpersonal therapy approach, offered 1:1 over 24 sessions. Further to this the intervention was tested for referrer acceptability. The intervention is in the early stages of evaluation, using changes to the patient's depression and anxiety measured pre- and post-treatment with a follow-up measure at 3 months following completion of treatment.Results: Phase I of the study provided a good basis for developing a logic model and protocol. The authors found that there was good clinical consensus about the use of a structured clinical art psychotherapy method and the literature overview was used to support specific examples of good practice. The verification of clinical coherence was represented by a logic model and clinical protocol for delivering the intervention. The acceptability study demonstrated very high levels of acceptability for referrers reporting that ADIT was acceptable for patients with complex/major depression, that they were likely to refer to ADIT in the future that the use of arts was likely to improve accessibility the use of arts was likely to improve outcomes and that offering ADIT was an effective use of mental health resources.Discussion: Phase I of this intervention development study demonstrated theoretical and practice coherence resulting in a clinical protocol and logic model. Whilst Phase II of this study showed promising results, Phase II would need to be sufficiently scaled up to a full trial to further test the intervention and protocol. (shrink)

The Anatoly Bakushinsky’s Seminarium (1917–1926) at the Tsvetkov gallery in Moscow became one of the first experimental and most influential venues to develop approaches to the perception of art in Soviet Russia. In it, Bakushinsky, an art critic and the head of the Physical-Psychological Department of the State Academy of Artistic Sciences (GAKhN), incorporated the practice of formal art history into a methodology based on materialism, psychology, and experimental aesthetics widely practiced at the GAKhN. Today, this combination of approaches (...) is perceived as an isolated historical example of an outmoded eclecticism. I argue, however, that Bakushinsky’s methodology should be studied in the context of the complex institutional structure of the Academy that was designed to ensure multidisciplinary work in art studies and its almost immediate implementation into art practice. This institutional and material nexus of the GAKhN’s history opens up a new direction in studying the intellectual legacy of Soviet humanities of the 1920s, which is otherwise often reduced to biographical narratives. (shrink)

Using examples of the work of some of the world's great artists, the author supports his theories of how great masterpieces were created.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 32-45 [Access article in PDF] Ernst H. Gombrich, Pictorial Representation, and Some Issues in Art Education Nanyoung Kim Introduction This essay will deal with different ways of conceptualizing pictorial representation in art education and their implications. The philosophical issues involved in pictorial representation have fascinated philosophers since the time of Plato and Aristotle. In the first half of the twentieth century, the (...) issue of representation became a centerpiece of various theories among art historians in an attempt to explain representational styles of non-Western cultures that were vastly different from Western styles, and also in order to reinterpret less-valued Western styles that had deviated from the Classical and Renaissance traditions. In recent years, the field of aesthetics has seen a resurgence of interest in the issue, probably because of the demise of Formalism and the returning interest in representation among postmodernists.In art education, interest in pictorial representation has been limited to research on children's drawing (mostly unsolicited drawing) and to the alleged benefits of drawing activity on children's emotional and cognitive development. To understand art images made by adult artists, especially in the Western tradition, art educators must refer to art history or aesthetics. For non-Western images, an anthropological or sociological approach seems appropriate because, more than Western images, they seem to demand knowledge about the culture in which they originated. Art education therefore does not have one comprehensive model of pictorial representation to encompass all these different kinds of images.For more than a decade, the dominant theory of children's pictorial representation in art education has been a symbolic model, and it thrived and is thriving in the context of ever-growing cognitive claims on art. Replacing the long-held creative self-expression model of Viktor Lowenfeld of the 1960s and 1970s, the advocates for this model advanced their theory based on Nelson Goodman's symbolic interpretation of pictorial representation.1 [End Page 32] While their theory illuminated what had not been revealed by the previous creative self-expression model, its long-held dominance in the field lends it an aura of self-evidence and authority.My aim in this essay is to reintroduce Ernst H. Gombrich's theory of pictorial representation in order to balance the dominant theory and to provide a broad perspective for viewing children's drawings and adults' art images together.2 Despite its potential contribution to art education, Gombrich's theory has not been adequately interpreted for art educators. When Gombrich's theory was introduced in art education in the past, he was treated, along with Goodman, as a prime advocate of the concept of representation as a convention. His attention to cultural, psychological, biological, sociological, and art historical dimensions of pictorial representation has never been fully explored by art educators. Gombrich was first and foremost an art historian and theorist of art history of solid classical scholarship, but he was also a cultural historian equipped with extensive knowledge of diverse fields such as cognitive psychology, ethology, psychoanalysis, and the philosophy of science. He was truly a scholar with an interdisciplinary penchant, which makes it difficult for his readers to categorize him. In addition, his elusive writing style tends to limit access to his theory.In this sense, Leslie Cunliffe's recent reintroduction of Gombrich's theories to art education is notable.3 Cunliffe covered the whole gamut of Gombrich's theories, including that on representation, by contextualizing him as a Social-Constructivist, and he expounded many potential benefits that art educators may gain through understanding and adopting his theories. My scope will be narrower than Cunliffe's. I will deal with Gombrich's theory of representation insofar as it illuminates the nature of children's drawings and other art images and helps us understand them within a coherent system. The order of discussion will be as follows: first, the linguistic model derived from Goodman and its continuing influence on art education; second, Gombrich's theory of pictorial representation, including his discussions of the conventional and biological aspects of... (shrink)

An artwork in one culture and form, say European classical music, cannot be evaluated in the context of another, say Hindustani music. While a person educated in the traditions of European music can rationally evaluate and discuss her response to a string quartet by Beethoven, her response to music in a foreign culture is merely subjective. She might "like" the latter, but her response is merely subjective. In this paper, I discuss the role of artforms: why response can be "objectively" (...) discussed within artforms, but is nonetheless subjective across them. My discussion falls into two parts. First, I offer a psychological account of aesthetic response to art: cultural learning stabilizes this response across individuals who are educated in an artform. Second, I offer a cultural-evolutionary account of the diversity of artforms, adapting Darwin's Principle of the Divergence of Character to explain the multiplicity of art forms. (shrink)

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)