Artists have superior local and global processing abilities but show a preference for initially drawing globally

The attentional demands of drawing require both local processing of an object’s details and global processing of its overall structure. In this study, we examined the extent to which artists have superior local and global processing skills, how these skills relate to artists’ ability to draw realistically and to autistic-related traits, and whether artists initially take a local or global approach to drawing. Forty first-year college art students and 41 nonart students completed two tasks assessing local processing and two tasks assessing global processing. Participants completed two drawing tasks that assessed their ability to draw realistically, two copying tasks that assessed whether they showed a preference for initially copying the local or global aspects of an object, and the Autism-Spectrum Quotient that assessed autistic-related traits. We found that art students outperformed nonart students on both the local and global processing tasks and that drawing ability was related to performance on these tasks. We also found that art students were more likely than nonart students to initially copy the global features in their drawings. Finally, we found that art students did not exhibit more autistic-related traits than nonart students and that the number of autistic-related traits was unrelated to performance on the local and global processing, drawing, or copying tasks. These results suggest that art students have an attentional flexibility that allows them to process information at a local and global level but that they have a preference for initially drawing globally

On the role of computers in creativity-support systems

We report here on our experiences with designing computer-based creativity-support systems over several years. In particular, we present the design of three different systems incorporating different mechanisms of creativity. One of them uses an idea proposed by Rodari to stimulate imagination of the children in writing a picture-based story. The second one is aimed to model creativity in legal reasoning, and the third one uses low-level perceptual similarities to stimulate creation of novel conceptual associations in unrelated pictures.We discuss lessons learnt from these approaches, and address their implications for the question of how far creativity can be tamed by algorithmic approaches

Quantifying and predicting success in show business

Recent studies in the science of success have shown that the highest-impact works of scientists or artists happen randomly and uniformly over the individual's career. Yet in certain artistic endeavours, such as acting in films and TV, having a job is perhaps the most important achievement: success is simply making a living. By analysing a large online database of information related to films and television we are able to study the success of those working in the entertainment industry. We first support our initial claim, finding that two in three actors are "one-hit wonders". In addition we find that, in agreement with previous works, activity is clustered in hot streaks, and the percentage of careers where individuals are active is unpredictable. However, we also discover that productivity in show business has a range of distinctive features, which are predictable. We unveil the presence of a rich-get-richer mechanism underlying the assignment of jobs, with a Zipf law emerging for total productivity. We find that productivity tends to be highest at the beginning of a career and that the location of the "annus mirabilis" -- the most productive year of an actor -- can indeed be predicted. Based on these stylized signatures we then develop a machine learning method which predicts, with up to 85% accuracy, whether the annus mirabilis of an actor has yet passed or if better days are still to come. Finally, our analysis is performed on both actors and actresses separately, and we reveal measurable and statistically significant differences between these two groups across different metrics, thereby providing compelling evidence of gender bias in show business.Comment: 6 Figure

The Observing facet of trait mindfulness predicts frequency of aesthetic experiences evoked by the arts

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

The antecedents and outcomes of creative cognition

This chapter summarises the antecedents and outcomes that are associated with creative potential and creative achievement, as well as the outcomes of creative practice and engagement with the arts. It provides a concise overview of the relationships between creativity and individual or dispositional factors such as intelligence, personality and executive functions, while also exploring the effects of environmental or situational factors, such as reward and evaluation, on creativity and motivation with an especial focus on two important outcomes of creative cognition, academic achievement and wellbeing. The consequences associated with engagement in creative practice and arts-integrated teaching are also discussed

Gender and creativity: An overview of psychological and neuroscientific literature

The topic of gender differences in creativity is one that generates substantial scientific and public interest, but also courts considerable controversy. Owing to the heterogeneous nature of the findings associated with this line of research, the general picture often appears puzzling or obscure. This article presents a selective overview of psychological and neuroscientific literature that has a relevant bearing on the theme of gender and creativity. Topics that are explored include the definition and methods of assessing creativity, a summary of behavioral investigations on gender in relation to creativity, postulations that have been put forward to understand gender differences in creative achievement, gender-based differences in the structure and function of the brain, gender-related differences in behavioral performance on tasks of normative cognition, and neuroscientific studies of gender and creativity. The article ends with a detailed discussion of the idea that differences between men and women in creative cognition are best explained with reference to the gender-dependent adopted strategies or cognitive style when faced with generative tasks

Reliability of quantitative content analyses

Reliable coding of stimuli is a daunting task that often yields unsatisfactory results. This paper discusses a case study in which tropes (e.g., metaphors, puns) in TV commercials were analyzed as well the extent and location of verbal and visual anchoring (i.e., explanation) of these tropes. After a first coding round, low interrater agreement scores were found. Examples are presented which demonstrate the reliability issues. The paper concludes with an overview of options to deal with reliability problems as described here. Low interrater agreement scores may reflect the richness of the data and their inherent ambiguity and need not necessarily be disapproved of

Visual aesthetics in advertising

According to the processing fluency theory (Reber et al., 2004), fluently processed stimuli are preferred to more challenging stimuli. This contradicts Giora et al.’s (2004) Optimal Innovation Hypothesis, that predicts a preference for more challenging, optimally innovative stimuli. Hekkert et al.’s dual process model would explain both theories: Familiar stimuli would be preferred after short exposure, whereas optimally innovative stimuli would be preferred after longer exposure. An experiment was done to examine the effect of exposure time (20ms vs. 1000ms) on the aesthetic response to either familiar or optimally innovative advertising images. The results showed a higher aesthetic response to optimally innovative images regardless of exposure time. This study therefore did not support Reber et al.’s fluency theory nor Hekkert et al.’s assumption that two opposing mechanisms are at work at different exposure times