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Who’s interested in contemporary paintings with semantic and syntactic violations?

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Pietras K., Ganczarek J.
Annales Universitatis Paedagogicae Cracoviensis. Studia Psychologica
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2018
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vol. 11
88-97
EN
Contemporary art often contains disruption of form and content, here operationalised as syntactic and semantic violations. The presented research examined whether violated paintings evoke interest in viewers and who in terms of personality and expertise would be interested in this type of art. Expert (N=37) and naive viewers (N=56) appraised 20 paintings (divided into four groups, i.e. no violation, single syntactic or semantic violation, and both violations) and filled in measures of Big Five and Need for Closure. In general, conflictual paintings evoked more interest in viewers, however the effect was significant only for syntactic violations. No interactions between types of violation, individual differences, and appraisal were observed. Expertise did not predict reaction of interest. In turn, we found that individuals high on Openness and Need for Closure and low on Neuroticism experienced more interest towards contemporary paintings.
PL
Sztuka współczesna często zawiera celowe zakłócenia formalne i treściowe. W niniejszym tekście zostały one zoperacjonalizowane jako niespójności syntaktyczne i semantyczne. Prezentowane tutaj badanie miało na celu określić czy niespójności w obrazach wzbudzają zainteresowanie widzów, a także które charakterystyki widzów w kontekście cech osobowości oraz wiedzy eksperckiej będą predyktorami zainteresowania tego typu sztuką. Eksperci (N=37) oraz laicy (N=56) oceniali 20 obrazów podzielonych na cztery grupy (tj. bez niespójności, zawierające tylko jeden typ niespójności: semantyczny lub syntaktyczny, oraz zawierające oba typy niespójności), a następnie wypełniali kwestionariusz Wielkiej Piątki oraz Skalę Potrzeby Poznawczego Domknięcia. Wyniki badania wskazują, że obrazy zawierające niespójności wywołują większe zainteresowania odbiorców, jednak ten efekt jest istotny wyłącznie w przypadku niespójności syntaktycznych. Nie stwierdzono interakcji pomiędzy typem niespójności w obrazie, różnicami indywidualnymi oraz dokonanymi ocenami obrazów. Ekspertyza nie była predyktorem zainteresowania. Natomiast wysoka otwartość na doświadczenie, wysoka potrzeba domknięcia poznawczego oraz niska neurotyczność okazały się predyktorami zainteresowania współczesną sztuką wizualną
2
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Explicit and implicit values of polish grandmothers and their granddaughters

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Mudyń K., Pietras K.
Polish Psychological Bulletin
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2009
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issue 2
62-68
EN
The authors tried to determine if and to what extent maternal granddaughters share the explicit and implicit values of their grandmothers. 80 grandmothers-granddaughter dyads were surveyed using Schwartz' SVS and Mudyn's RN-02, an instrument assigned to identify 'ontological orientations' (implicit evaluation). The results indicate that: 1) grandmothers differ significantly from granddaughters in all ontological orientations (except for Aesthetic), especially in Theoretical and Religious orientation, 2) they differ also in personal values, except for Universalism and Power, 3) regression analysis revealed two decisive factors which determine convergence of ontological orientations and values in grandmother-granddaughter dyads, i.e. and level of education and attitudes toward religion. It may mean that these are the two important transmitters of world view as well as personal values.
3
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Art training and personality traits as predictors of aesthetic experience of different art styles among Polish students

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Pietras K., Czernecka K.
Polish Psychological Bulletin
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2018
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vol. 49
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issue 4
466-474
EN
Personality, demographics and art experience proved to play an important role in reactions to visual art. Nevertheless, research attempts that take into account all those factors when determining predictors of aesthetic responses to different artistic styles are quite rare. The study presented here investigates predictors of aesthetic experience across figurative, abstract and contemporary paintings in individuals with varying expertise. Students enrolled in Sport, Humanities and the Arts programmes (N = 181) declared their art exposure and filled out personality measures (Big Five, alexithymia, need for closure). Next participants evaluated three paintings using a tool constructed by the authors to track various dimensions of aesthetic reactions (i.e. negative/positive affective responses, self-references, explicit knowledge and perceived mastery of the artwork). Reactions to figurative painting depended mostly on formal knowledge about arts, not personality traits. Aesthetic perception of abstract art rely not only on art exposure, but also on some individual characteristics (openness to experience, tolerance of ambiguity and ability to identify one’s own emotions and track their source). Reception of contemporary art was predicted mostly by art exposure variables and in the case of negative emotionality by ability to identify one’s own emotions and track their source. Both formal art education and art experience were stronger predictors of aesthetic responses than personality traits, for all art styles and dimensions of aesthetic experience. Personality predictors were significant mostly for abstract art. Personal interest in the arts seems to be as good predictor of aesthetic reactions as formal expertise.
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