This essay explores differences in aesthetic response scales for popular illustrations. A total of 254 subjects participated in this study, which involved answering a questionnaire consisting of 7-point scales by using a computer device. The data were analyzed by descriptive statistics, multivariate analysis of variance, and exploratory factor analysis. The principle findings were as follows: First, popular illustrations seemed to elicit some interest and a little novelty, and the aesthetic evaluation was positive in most responses. Second, except for one affective factor-preference-and two cognitive factors-interest and meaning-the ratings of most factors involved in the aesthetic evaluation were higher among adults than among adolescents. The coordination between cognition and affection evoked by the aesthetic processing of visual stimuli might be the true key to understanding the generational differences in the perception of popular illustrations. Third, the ratings for apprehending complexity among females were significantly higher than those among males. The converse was true of the scores for apprehending activity, and activity presumably played an important aesthetic role among adolescents. In conclusion, this research provides a preliminary examination of the aesthetic responses to popular illustrations; however, it has some limitations that can be addressed in future studies.
This essay examines the earlier findings regarding the final stages of development of two-dimensional graphic spatial representation among congenitally blind individuals. Using the "draw a cube task," our study probes into the spatial representation by participants aged 17 and above and with different visual conditions. Nine totally blind participants, ages between 17 and 21, represent five visual conditions. Only one among them, a subject who lost his vision at 9 years of age and who loved to draw prior to loosing his vision, adopted the final stage of graphic development, the oblique projection system. Remaining participants used the orthographic projection system or earlier stages. These results contradict Kennedy's assumptions and developmental model that purports that congenitally blind individuals may attain the final stages of graphic development through tactile experience. We offer the explanation that participants' (of earlier studies conducted by Kennedy) past visual experience, their passion to learn drawing, and specific education are possible crucial reasons why these totally blind subjects adopted oblique perception or linear perspective; and we argue that the tactile sense alone cannot replace the visual sense when it comes to either obtaining visual information or two-dimensional graphic representational strategies. Other insights include consideration of implications for the art and education of blind children. Spatial representation development in sighted children has been studied for nearly 120 years in psychology, education, anthropology, and art. As researchers in neurophysiology and psychology have emphasized, studies related to multisenses (D
This essay examines the earlier findings regarding the final stages of development of two-dimensional graphic spatial representation among congenitally blind individuals. Using the "draw a cube task," our study probes into the spatial representation by participants aged 17 and above and with different visual conditions. Nine totally blind participants, ages between 17 and 21, represent five visual conditions. Only one among them, a subject who lost his vision at 9 years of age and who loved to draw prior to loosing his vision, adopted the final stage of graphic development, the oblique projection system. Remaining participants used the orthographic projection system or earlier stages. These results contradict Kennedy's assumptions and developmental model that purports that congenitally blind individuals may attain the final stages of graphic development through tactile experience. We offer the explanation that participants' (of earlier studies conducted by Kennedy) past visual experience, their passion to learn drawing, and specific education are possible crucial reasons why these totally blind subjects adopted oblique perception or linear perspective; and we argue that the tactile sense alone cannot replace the visual sense when it comes to either obtaining visual information or two-dimensional graphic representational strategies. Other insights include consideration of implications for the art and education of blind children. Spatial representation development in sighted children has been studied for nearly 120 years in psychology, education, anthropology, and art. As researchers in neurophysiology and psychology have emphasized, studies related to multisenses (D
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
customersupport@researchsolutions.com
10624 S. Eastern Ave., Ste. A-614
Henderson, NV 89052, USA
Copyright © 2024 scite LLC. All rights reserved.
Made with 💙 for researchers
Part of the Research Solutions Family.