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)

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)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

1. Museum without walls.--2. The creative act. -- 3. The Aftermath of the Absolute.

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)

In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...) to philosophy, and, most recently, to theory. Included are discussions of writers such as Heinrich Wölfflin, Ludwig Volkmann, John Dewey, Vincent Scully and Richard Arnheim, among others. The Psychologizing of Modernity is a broad and erudite study of the evolution of modern aesthetic thinking in the fields of art and architectural history. (shrink)

The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are (...) being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field. (shrink)

Art appreciation often involves contemplation beyond immediate perceptual experience. However, there are challenges to incorporating such processes into a comprehensive theory of art appreciation. Can appreciation be captured in the responses to individual artworks? Can all forms of contemplation be defined? What properties of artworks trigger contemplation? We argue that such questions are fundamental to a psycho-historical framework for the science of art appreciation, and we suggest research that may assist in refining this framework.

Emphasis is on mental training and the philosophical, psychological, and spiritual elements of the martial arts in this comparison of the various martial-arts systems and mind-body problems often encountered.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

An important part of learning to fight is learning to overcome psychological barriers against harming others. Though there are some interesting exceptions, most human beings experience signi cant internal resistance to doing harm to other people. (Marshall 1947, Grossman 1995, Morton 2004, Jensen 2012) Whatever its moral properties, this reluctance to harm can compromise the ability to fight effectively. Hence one might think that combat training should help trainees overcome such barriers. -/- However, on one compelling theory of evil, what (...) makes an action evil, as opposed to merely wrong, is that it is made possible by the agent's use of learned or innate strategies to overcome the natural barriers to harming others. (Morton 2004: 34{68) If this is right, it poses a prima facie moral challenge to these aspects of fight-training. The challenge is a special case of a more general one, namely, how it could be morally permissible to make people better at harming others? That is a question that martial artists rarely take seriously. Indeed, it is commonly thought that becoming a martial artist, and teaching the martial arts, are morally supererogatory. This paper takes the special challenge seriously, and looks at what can be said in response. (shrink)

Modern medical research shows that art aesthetic plays a positive role in healing and relieving people’s stress, improving mental health and improving social adaptability. Based on the aesthetic experience of visitors, this article conducts an empirical study on the aesthetic experience of the Long March Memorial Museum in Ninghua County, Fujian province, by means of survey data questionnaire (SD) and in-depth interview. Firstly, to conduct a questionnaire survey to understand the psychological characteristics of visitors’ aesthetic experience. Secondly, the combination of (...) in-depth interviews and the aesthetic differences of public art psychological analysis. Thirdly, to clarify the relationship between public art aesthetics and psychological healing. By constructing a model of the relationship between public art aesthetics and psychological healing, it puts forward five ways of psychological healing, such as enhancing aesthetic experience, arousing life interest, enriching cultural and artistic knowledge, shaping individual psychology and relieving emotional pressure. Contribution: Public art aesthetics is not only influenced by the politics, culture, customs and lifestyles of society but also has a close relationship with religious beliefs. This article attempts to explain the relationship between public art aesthetics and psychological healing from the dimension of cognitive psychology and proposes a path for public art aesthetics to promote psychological healing, so as to enrich and expand the connotation of traditional aesthetic thought and further deepen the study of religious art in psychological healing, aiming to provide useful ideas and references for promoting the all-round development of human beings. (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.

This book examines puzzles about the arts wherever their provenance - as long as there is empirical research using the methods of social science that can shed light on these questions. The examined research reveals how ordinary people think about these questions, and why they think the way they do - an inquiry referred to as intuitive aesthetics. The book shows how psychological research on the arts has shed light on and often offered surprising answers to such questions.

This study aimed to meta-analyze the relationship between self-management and exercise self-confidence, satisfaction, and commitment in both modern and traditional martial arts among Korean practitioners. We examined the level of sports participation and different martial arts sports as potential moderating variables. In total, 22 studies yielded 299 individual effect sizes and were included in the final meta-analytic pool. The analyses revealed a moderate effect of self-management on exercise satisfaction and self-confidence; and a large effect self-management on exercise commitment. Especially, the (...) effect of the training dimension of self-management was large on exercise commitment and satisfaction, while that of the mental dimension was large on exercise self-confidence. The effects of self-management on exercise satisfaction, commitment, and self-confidence were large in judo, Ssireum, and wrestling, respectively. Finally, the use of self-management was relatively more effective for non-elite participants than for elite practitioners. Our results highlight the effectiveness of self-management to enhance Korean martial arts practitioners’ exercise self-confidence, commitment, and satisfaction, findings that may potentially be extended internationally and to other types of sports; further, they showcase the importance of the promotion of interventions and educational programs on how to incorporate/employ self-management in athletes’ sports training. (shrink)

Evolutionary psychology is among the various evolutionary and cognitive perspectives that have been used to account for the origins of art. It sets out to explain modern human psychology by means of the evolutionary history of the species, and by determining why and how our extant cognitive machinery evolved as adaptations to past environmental surroundings or by-products of such adaptations. In the case of art, evolutionary psychologists seek to track down its cognitive foundations and establish its evolutionary rationale, for instance (...) by determining which function artistic behaviour as a whole might have performed. However, several methodological issues and gaps currently impede evolutionary psychological research on art: empirical support is often lacking, adaptationist claims are not adequately substantiated, and the definition and scope of basic aspects of evolutionary psychology often remain underspecified. This paper reviews the central themes that evolutionary psychology currently advances to account for the emergence of visual arts, music and fiction, addresses the most relevant methodological issues, and provides some suggestions that might help to develop evolutionary research on art. (shrink)

The essays appearing in these two volumes are based on Keynote and State-of-the-Art Lectures delivered at the XXVth International Congress of Psychology, in Brussels, July 1992. The Brussels Congress was the latest in a series of conferences which are organized at regular intervals under the auspices of the International Union of Psychological Science, the main international organization in the field of Scientific Psychology. The first of those meetings took place in Paris in 1889. An important function of the International Congresses (...) is to promote communication between different specializations in Psychology. Speakers were therefore asked to present lectures and discussions in their own fields of study, in a way that would be accessible to fellow psychologists active in other fields. State-of-the-Art lecturers were specifically asked to prepare a tutorial review on a topic which, in the view of the Program Committee, had recently given rise to particularly important developments. These contributions are included in Volume Two. Keynote lecturers were left free to address whatever subject they felt was of greatest interest. The chapters in Volume 1 are preceded by the Presidential Address by Mark R. Rosenzweig. (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.

Some works of conceptual art require deception for their appreciation—deception of the viewer of the work. Some experiments in social psychology equally require deception— deception of the participants in the experiment. There are a number of close parallels between the two kinds of deception. And yet, in spite of these parallels, the art world, artists, and philosophers of art, do not seem to be troubled about the deception involved, whereas deception is a constant source of worry for social psychologists. Intuitively, (...) each of these responses might seem appropriate for its sphere, but it is not easy to see what grounds these intuitions. (shrink)

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

The Art of Happiness - Teachings of Buddhist Psychology. Mirko Frýba. Translated by Michael H. Kohn. Shambhala, Boston and Shaftesbury 1989. xvi, 301 pp. US$15.95.

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)

Art Education, Its Philosophy and Psychology is a collection of essays by Thomas Munro, a pioneering figure in the field of art education. Munro's work laid the foundation for a new model of art education that emphasized creativity and self-expression. This book is an essential resource for art educators, students of art education, and anyone interested in the history and theory of art education. This work has been selected by scholars as being culturally important, and is part of the knowledge (...) base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In Art of the Ordinary, Deming brings together the arts, philosophy, and psychology in new and compelling ways so as to offer generative, provocative insights into how we think and represent the world to others as well as to ourselves.

The research programs of empirical aesthetics and neuroaesthetics have reflected deep concerns about viewers' sensitivities to artworks' historical contexts by investigating the impact of two factors on art perception: viewers' developmental (and educational) histories and the contextual histories of artworks. These considerations are consistent with data demonstrating that art perception is underwritten by dynamically reconfigured and evolutionarily adapted neural and psychological mechanisms.

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)

Instead of simply following the current neoliberal mantra of proclaiming economic growth as the single most important factor for maintaining well-being, Education and Schmid's Art of Living revisits the idea of an education focused on personal development and the well-being of human beings. Drawing on philosophical ideas concerning the good life and recent research in positive psychology, Teschers argues in favour of shifting the focus in education and schooling towards a beautiful life and an art of living for today's students. (...) Containing a thorough discussion of the ideas of contemporary German philosopher Wilhelm Schmid, this book considers the possible implications of developing a more humanistic and life-centred approach to educational policy, research and practice, showing that Schmid's concept of Lebenskunst provides a firm philosophical basis for this endeavour. Among others, this book draws on analytical and continental traditions to challenge current views and assumptions in regard to education and the role of schooling for contemporary societies. As a result, Teschers' work is sure to spark a debate about the direction of educational policy and practice in the 21st century. Education and Schmid's Art of Living is essential reading for academics and students with an interest in education. Given the importance of such topics as the relationship between education and society, teacher education and how best to structure schools and learning environments, Teschers' work will appeal to academics and students in a diverse range of fields, including education, philosophy, sociology and psychology. (shrink)

This essay describes an example of how we—one professor of the elective course Art, Medicine, and Clinical Moral Perception at Creighton University School of Medicine, one Director of Adult Programs at the Joslyn Museum of Art in Omaha, Nebraska, and fourth year medical students—practice perception skills using art objects. This essay presents one example of the journal assignments to which students respond in written narratives about their own perception habits. We also share questions any health professions educator can use to (...) guide students’ study of their habits of perception using art objects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan anniversary with an (...) essay that reexamines Art as Experience by briefly tracing some of its major themes and clarifying its generative context of production and philosophical roots, while also suggesting, in passing, how some of these themes and roots contribute to its continuing philosophical relevance. Before going further, I should offer two preliminary cautions. First, Dewey's aesthetic magnum opus is obviously too rich and masterful in ideas and influence for any brief commemorative essay to hope to do it sufficient justice. Second, as Dewey defined philosophy as "a criticism of criticisms," so my remarks will include a critical dimension.2 This in no way denies my immense admiration for Dewey's achievement in Art as Experience, just as my noting of some formative influences on this work is in no way meant to diminish the impressive originality of his contribution.Dewey's Art as Experience first established pragmatist aesthetics on the philosophical map, yet his text makes no mention of pragmatism. There are good reasons for Dewey's reluctance to highlight the term. The pragmatic is closely linked to the practical, precisely the idea against which the aesthetic has, since Kant, been traditionally contrasted and often oppositionally defined as purposeless and disinterested. To describe his new aesthetic [End Page 26] explicitly as pragmatist might have aroused too much skepticism to insure Dewey's views a fair hearing. Moreover, the pragmatist movement did not yet have a real tradition of philosophical aesthetics on which Dewey could securely rely, a suspicious lack that encouraged the presumption that pragmatism had nothing worthwhile to offer the arts and no real interest in them. Neither C. S. Peirce (who first conceived and baptized pragmatism) nor William James (who made it an internationally famous movement and converted Dewey to it) provided any treatises on aesthetics in their voluminous and wide-ranging writings.It would be wrong to conclude, however, that these first prophets of pragmatism dismissed the aesthetic dimension as unimportant and that they contributed nothing to our understanding of art and criticism. As the originator of semiotics, Peirce significantly advanced the theory of symbols and interpretation in ways that enrich aesthetics. Appreciative of the role of play in creative expression and thought (which he tried to capture through an intriguing concept he called "musement"), Peirce also emphasized the immediately felt quality of experience (so crucial to aesthetics) as his first category of consciousness or "Firstness." Finally, Peirce urged the continuity and collaboration of aesthetics and ethics, even going so far as "making Ethics dependent upon Esthetics" and treating "the morally good … as a particular species of the esthetically good." If "Ethics is the science of the method of bringing Self-Control to bear to gain" what we desire, "what one ought to desire … will be to make [one's] life beautiful, admirable. Now the science of the Admirable is true Esthetics."3William James, whose keen aesthetic taste, wide culture, and love of art inspired his first career choice for painting, offered almost no theorizing in philosophical aesthetics because he was convinced that its abstract formal principles and discursive definitions necessarily failed to capture (and even tended to obscure) the crucial nameless subtleties of art that make all the difference in actual aesthetic experience. But James held the aesthetic dimension of experience (its immediately and distinctively felt but nameless qualities and the appeal that such qualities exercised on our minds and behavior) to be extremely important, well beyond the field of fine art. Maintaining that such aesthetic considerations deeply pervaded one's ethical and philosophical perspective, he even argued that contentions between rival worldviews rested largely on "aesthetic" discords or conflicting temperaments.4 James also devoted specific attention to the aesthetic emotions as "subtler emotions" (along with intellectual and moral... (shrink)

The purpose of this study is to analyze the relationship between psychology and modern art design education in colleges, and to provide the basis for improving the quality of art education in colleges. Based on the relevant theory, the characteristics of educational psychology and art psychology and the correlation between them were analyzed from the angle of art education. According to the characteristics of college students' psychological development, the significance of art psychology-related courses was analyzed. Through the form of questionnaire, (...) a total of 200 students were randomly selected from Xi'an Academy of Fine Arts and Xi'an University of Science and Technology, respectively. A total of 400 questionnaires were issued, and 382 valid questionnaires were recovered. The results show that almost all students in two colleges think pedagogy and educational psychology are the theoretical basis for art teachers, while less than one-third of students in Xi'an University of Science and Technology think that art psychology is the theoretical basis for art teachers. The difference between the students' aesthetic and life values in the two colleges is significant. In the 15 directions of life values, there are significant differences in five directions: spirit—material, enrichment—emptiness, enthusiasm—apathy, hope—despair, and dedication—acceptance. It shows that the psychological and values of college students are changeable, and the educators should pay attention to the education in the related fields of psychology. This exploration was conducted based on educational psychology, which is of great significance for improving the educational level of art psychology in colleges and enable students to form correct aesthetic standards and life values. (shrink)

This article focuses on the experience of unsettling art and its psychological impact. Although it is widely recognized that works of art can be highly unsettling and disturbing, there seem to be no studies revealing the psychological importance of such experiences. Through a selection of interviews conducted according to phenomenological principles, a few essential features of the unsettling art experience are identified. These features include a strong negative emotional response, feelings of attraction, and pictorial vividness. Furthermore, these experiences form memory (...) traces that are powerful, persistent, and long-lasting. The present study shows that when experiencing an unpleasant emotional response to a work of art, the emotion is linked to the sensate form of the picture and thereby objectified, allowing contemplation of the existential importance of the experience. Furthermore, this study uncovers a possible relation between prior traumatic episodes and an intense emotional response to unsettling art, and it is suggested that experiences with unsettling works of art allow the individual to reconcile with their prior trauma. (shrink)

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses. We argue that theories about art experiences should be based on empirical evidence.

The question of what constitutes and facilitates mental health or psychological well-being has remained of great interest to martial artists and philosophers alike, and still endures to this day. Although important questions about well-being remain, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would characteristically consist of positive emotion, engagement, relationships, meaning, and accomplishment. Other scholarship has also recently suggested that martial arts practice may positively promote psychological well-being, although recent (...) studies on martial arts have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to the literature by reviewing recent work on psychological well-being and martial arts to determine whether there is substantive support for the claim that practicing martial arts can positively contribute to one flourishing with greater psychological well-being. (shrink)