Peak Height Velocity Maturity Offset Estimated from Cross-sectional vs. Longitudinal Growth Data

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Can a brief interaction with online, digital art improve wellbeing? A comparative study of the impact of online art and culture presentations on mood, state-anxiety, subjective wellbeing, and loneliness

When experienced in-person, engagement with art has been associated—in a growing body of evidence—with positive outcomes in wellbeing and mental health. This represents an exciting new field for psychology, curation, and health interventions, suggesting a widely-accessible, cost-effective, and non-pharmaceutical means of regulating factors such as mood or anxiety. However, can similar impacts be found with online presentations? If so, this would open up positive outcomes to an even-wider population—a trend accelerating due to the current COVID-19 pandemic. Despite its promise, this question, and the underlying mechanisms of art interventions and impacts, has largely not been explored. Participants (N = 84) were asked to engage with one of two online exhibitions from Google Arts and Culture (a Monet painting or a similarly-formatted display of Japanese culinary traditions). With just 1–2 min exposure, both improved negative mood, state-anxiety, loneliness, and wellbeing. Stepdown analysis suggested the changes can be explained primarily via negative mood, while improvements in mood correlated with aesthetic appraisals and cognitive-emotional experience of the exhibition. However, no difference was found between exhibitions. We discuss the findings in terms of applications and targets for future research

Quantifying the If, the When, and the What of the Sublime: A Survey and Latent Class Analysis of Incidence, Emotions, and Distinct Varieties of Personal Sublime Experiences

Sublime encounters provide a compelling example of the peaks of our shared emotional and cognitive experiences. For centuries, these have been a target for philosophy and, more recently, for psychology, with its renewed focus on profound or aesthetic events. The sublime has been theoretically connected to multiple contexts, from interactions with overpowering nature, to beauty, music, even interpersonal engagements, and to multiple emotions—danger, awe, pleasure, fear—often with diametrically opposing arguments for what constitutes these events. However, despite this prolonged discussion, there is still a scarcity of actual systematic research. It is not known whether sublime encounters are common, nor how they are described by individuals, or if reports match theoretical arguments: Are there one or more, or no, distinct sublime types? We address these questions by matching historical discussions to 402 participants’ (Western adults) reports of whether they have ever experienced the sublime and, if so, how these are described in terms of cognitive/emotional and contextual factors. Roughly half reported having had at least one sublime experience, with accounts involving a range of contexts that essentially cover the full spectrum of past theoretical arguments. At the same time, when we considered the cognitive/affective descriptions using network science and latent class analysis of reported feelings, 90.8% fit one model, with involved communities (or interrelated clusters) of positive emotions, discrepancy, self-awareness, transformation/insight, and, notably, not including negative emotions/fear. We conclude with a discussion of how this approach and findings might be used as a basis for considering sublime theory and shaping future research

How does fiction reading influence empathy? An experimental investigation on the role of emotional transportation

The current study investigated whether fiction experiences change empathy of the reader. Based on transportation theory, it was predicted that when people read fiction, and they are emotionally transported into the story, they become more empathic. Two experiments showed that empathy was influenced over a period of one week for people who read a fictional story, but only when they were emotionally transported into the story. No transportation led to lower empathy in both studies, while study 1 showed that high transportation led to higher empathy among fiction readers. These effects were not found for people in the control condition where people read non-fiction. The study showed that fiction influences empathy of the reader, but only under the condition of low or high emotional transportation into the story

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

Beyond the Laban Examination of Key Factors Influencing Interaction with \u27Real\u27 and Museum-Based Art

The authors present a comprehensive review and theoretical discussion of factors that could influence our interaction with museum-based art. Art is an important stimulus that reveals core insights about human behavior and thought. Art perception is in fact often considered one of the few uniquely human phenomena whereby we process multiple types of information, experience myriad emotions, make evaluations, and where these elements not only occur but dynamically combine. Art viewing often occurs in museums, which-in conjunction with real artworks-may contribute greatly to experience. However, to date, psychological aesthetics studies have only begun to consider in-museum examinations, focusing instead on highly controlled laboratory-based studies, and leading to calls for a need to shift to ecologically valid examinations. To provide a foundation for such research, the authors consider what key psychological differences may be expected between original/reproduced and museum/lab-based art, and why the art experience may be different when occurring within the museum context. They also review factors that should be controlled for, or which may raise new, unexplored areas for empirical research. These include 3 main levels: the artwork, the viewer, and physical aspects of the museum. The authors connect these factors to a model of art processing and relate to findings from sociology and general museum studies, which have largely been overlooked in psychological aesthetics research

Machine learning revealed symbolism, emotionality, and imaginativeness as primary predictors of creativity evaluations of western art paintings

Abstract Creativity is a compelling yet elusive phenomenon, especially when manifested in visual art, where its evaluation is often a subjective and complex process. Understanding how individuals judge creativity in visual art is a particularly intriguing question. Conventional linear approaches often fail to capture the intricate nature of human behavior underlying such judgments. Therefore, in this study, we employed interpretable machine learning to probe complex associations between 17 subjective art-attributes and creativity judgments across a diverse range of artworks. A cohort of 78 non-art expert participants assessed 54 artworks varying in styles and motifs. The applied Random Forests regressor models accounted for 30% of the variability in creativity judgments given our set of art-attributes. Our analyses revealed symbolism, emotionality, and imaginativeness as the primary attributes influencing creativity judgments. Abstractness, valence, and complexity also had an impact, albeit to a lesser degree. Notably, we observed non-linearity in the relationship between art-attribute scores and creativity judgments, indicating that changes in art-attributes did not consistently correspond to changes in creativity judgments. Employing statistical learning, this investigation presents the first attribute-integrating quantitative model of factors that contribute to creativity judgments in visual art among novice raters. Our research represents a significant stride forward building the groundwork for first causal models for future investigations in art and creativity research and offering implications for diverse practical applications. Beyond enhancing comprehension of the intricate interplay and specificity of attributes used in evaluating creativity, this work introduces machine learning as an innovative approach in the field of subjective judgment