A Suggested Coefficient of Affective Sensitiveness

Clark, Helen; Quackenbush, Neida; Washburn, Margaret Floy

doi:10.2307/1413458

Cited by 7 publications

(9 citation statements)

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“…A total score in Affective reaction (5) was obtained in each test by giving an arbitrary value to each judgment: a judgment of 4 was called o; a judgment of 3 or 5 was called 1; a judgment of 2 or 6 was called 4; and a judgment of 1 or 7 was called 9. So it is seen that when a subject expressed himself as neutral he was given no score at all for affective reaction; when he indicated extreme liking or disliking he was given a high score.…”

Section: Methods Of Scoringmentioning

confidence: 99%

A study of poetic talent.

Stumberg¹

1928

Journal of Experimental Psychology

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The plan of this study 1 was to give a series of tests to two groups of subjects, the one possessing and the other decidedly lacking in poetic talent. It was hoped, first, that the results would throw light upon the nature of poetic talent; and, secondly, that some of the tests used might be found to be sufficiently distinguishing for use in the teaching of literature.Just what the factors are which make up poetic talent it is at present difficult to say. A survey of the literature discloses the fact that many writers refuse to attempt a definition of poetry and disagree in their analysis of the essential elements either in poetry or in poetic talent. Imagination, imagery, emotion, rhythmical form and trope have all been mentioned as essential features. It seemed wise, therefore, in this study to attempt no definition at the outset but rather to design a series of tests in the hope that some of them would differentiate between the two groups of subjects; the results might, then, whether positive or negative, throw light upon the nature of poetic talent, since we know that to be the outstanding feature in which the two groups differ; and, if positive, might be so developed as to enable young writers to compare their records with others in the same field.The subjects in this experiment may be divided into two main classes; A is composed of twenty-eight individuals who have poetic talent and B of twenty-eight who, according to their own statements, do not try to write poetry and have little or no interest in reading it. Each clas6 may be subdivided into three groups representing progressive degrees of maturity and attainment: Group I, high school students; Group II, college undergraduates and two graduate students; Group III, more mature persons with some definitely developed interest.The criterion of poetic talent necessarily varied with the three groups. Group \A 1 The study was made under the direction of Dr. L. L. Thuratone. 219 22O DORRITT STUMBERG 42 11.50TABLE II UPPER AND LOWER CRITICAL SCORES (p = poets, n-p = non-poets) Rhymes Above no up 0 n-p Above ioo 15 P 1 n-p Below 60 IP 14 n-p Below 45 op 9 n-p C. Ass'n (No. Words) Above 162 7P o n-p Above 130 12 p 4 n-p Below 90 2p 11 n-p Below 68 op 3 n-p C Ass'n Imagery Rhythm Completion (No. Figur-(No. Images) Percentile £ ative Words) Ranks Above 10 15 P o n-p Above 5 24 p 7 n-p Below 6 4P 21 n-p Above 13 17 p 5 n-p Below 11 op 25 n-p Above 75 14 p 9 n-p Below 25 2p 4 n-p Above 20 SP 0 n-p Above 15 8p 1 n-p Below 5 8p 16 n-p Rorschach Similes

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Section: Methods Of Scoringmentioning

confidence: 99%

A study of poetic talent.

Stumberg¹

1928

Journal of Experimental Psychology

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“…Second, unlike Götz et al's (1979) or Parker's (1978) notion, there is no external normative standard set by any authority: aesthetic sensitivity is the extent to which sensory features influence someone's valuation. Third, unlike Eysenck's (1940) or Meier's (1928) conception, aesthetic sensitivity need not be a unitary construct: people might be sensitive to some features but not others (Clark et al, 1913). Fourth, unlike Götz et al's (1979) or Parker's (1978) notion, aesthetic sensitivity need not be immutable: people's aesthetic sensitivity might be influenced by context, experience, expertise, and maybe even fatigue (Robbins, Smith, & Washburn, 1915).…”

Section: Musical Aesthetic Sensitivitymentioning

confidence: 96%

“…It was noted early on, however, that these general relations between stimulus features and aesthetic responses coexisted with important individual differences. Clark, Quackenbush, and Washburn (1913) used the concept affective sensitiveness to distinguish between people who strongly tended to like and dislike materials of different sorts, including tones, colors, and speech sounds, from people who were relatively indifferent to those materials (Babbitt, Woods, & Washburn, 1915). Washburn, Hat, and Holt (1923) showed that poets were more affectively sensitive than science students, meaning that affective sensitiveness was related to experience and expertise in art and aesthetics.…”

Section: Musical Aesthetic Sensitivitymentioning

confidence: 99%

Musical Aesthetic Sensitivity

Clemente¹,

Mt²,

Nadal³

2021

Preprint

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Empirical aesthetics has mainly focused on general and simple relations between stimulus features and aesthetic appreciation. Consequently, to explain why people differ so much in what they like and prefer continues to be a challenge for the field. One possible reason is that people differ in their aesthetic sensitivity, i.e., the extent to which they weigh certain stimulus features. Studies have shown that people vary substantially in their aesthetic sensitivities to visual balance, contour, symmetry, and complexity, and that this variation explains why people like different things. Our goal here was to extend this line of research to music and examine aesthetic sensitivity to musical balance, contour, symmetry, and complexity. Forty-eight non-musicians rated their liking for 96 4-second Western tonal musical motifs, arranged in four subsets varying in balance, contour, symmetry, or complexity. We used linear mixed-effects models to estimate individual differences in the extent to which each musical attribute determined their liking. The results showed that participants differed remarkably in the extent to which their liking was explained by musical balance, contour, symmetry, and complexity. Furthermore, a retest after two weeks showed that this measure of aesthetic sensitivity is reliable, and suggests that aesthetic sensitivity is a stable personal trait. Finally, cluster analyses revealed that participants divided into two groups with different aesthetic sensitivity profiles, which were also largely stable over time. These results shed light on aesthetic sensitivity to musical content and are discussed in relation to comparable existing research in empirical aesthetics.

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“…Adaptation implies the competition among individuals with different traits or capacities that confer them greater or lesser advantages in a given context. So, when the American psychologists turned their attention to Empirical Aesthetics, in the early decades of the 20 th century, it was with a focus on individual differences (H. Clark, Quackenbush, & Washburn, 1913;Thorndike, 1917).…”

Section: Empirical Aesthetics During the Decades Of Behaviorismmentioning

confidence: 99%

Empirical Aesthetics: An overview

Nadal¹,

Vartanian²

2021

Preprint

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This chapter offers a general overview of Empirical Aesthetics. It begins with a definition of the field’s main goals, a summary of its history from its modern foundations to the 1990s, and an introduction to contemporary accounts of aesthetic appreciation. We then highlight the key components of Empirical Aesthetics (object, person, and context), which provide the basic organization for the book, and summarize the field’s basic methods. We end by presenting the subdomains of Empirical Aesthetics, and the neighboring fields it interacts with.

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A Suggested Coefficient of Affective Sensitiveness

Cited by 7 publications

References 0 publications

A study of poetic talent.

A study of poetic talent.

Musical Aesthetic Sensitivity

Empirical Aesthetics: An overview

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