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    Art, Artists, and Perception: A Model for Premotor Contributions to Perceptual Analysis and Form Recognition.William Seeley & Aaron Kozbelt - 2008 - Philosophical Psychology 21 (2):149 – 171.
    Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object (...)
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    Extending the Psycho-Historical Framework to Understand Artistic Production.Aaron Kozbelt & Justin Ostrofsky - 2013 - Behavioral and Brain Sciences 36 (2):148-149.
    We discuss how the psycho-historical framework can be profitably applied to artistic production, facilitating a synthesis of perception-based and knowledge-based perspectives on realistic observational drawing. We note that artists' technical knowledge itself constitutes a major component of an artwork's historical context, and that links between artistic practice and psychological theory may yet yield conclusions in line with universalist perspectives.
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    Free and Open Source Software as a Model Domain for Answering Big Questions About Creativity.Scott Dexter & Aaron Kozbelt - 2013 - Mind and Society 12 (1):113-123.
    In free and open source software , computer code is made freely accessible and can be modified by anyone. It is a creative domain with many unique features; the FOSS mode of creativity has also influenced many aspects of contemporary cultural production. In this article we identify a number of fundamental but unresolved general issues in the study of creativity, then examine the potential for the study of FOSS to inform these topics. Archival studies of the genesis of FOSS projects, (...)
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