Impact of Clothing on Impressions of Personal Characteristics and Writing Ability

Lapitsky, Mary; Smith, C

doi:10.1177/1077727x8100900407

Cited by 38 publications

(25 citation statements)

References 11 publications

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“…As other writers, Engelbach and Lapitsky (1978), Hamid (1968), Buckley and Roach (1974), Lapitsky and Smith (1981), Giles and Chavasse (1975), have concluded, clothes that people wear influence the way they are perceived by others. The findings of this study offer a strong argument for the statement that clothes are one of the most important factors influencing perceptions made by others.…”

Section: Discussionmentioning

confidence: 94%

Perception of Physically Impaired Job Applicants: Effect of Dress, Credentials, and Rater's Sex

Ray

1986

Clothing and Textiles Research Journal

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Male and female managerial level employers evaluated bogus physically impaired job applicants for whom dress and credentials had been varied. The research design was a 3x2x2 factorial, with the independent variables being applicant's appropriateness of dress (high, moderate, low), applicant's credentials (high, low), and respondent's sex (male, female). The dependent variables were personal characteristics ratings, recommendations to hire the applicant, and entry-level salary assignment. Both dress and credentials had a significant effect on ratings of personal characteristics as a group. Recommendations to hire were affected by dress and by credentials. Entry-level salary was affected by dress but not by credentials.

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Section: Discussionmentioning

confidence: 94%

Perception of Physically Impaired Job Applicants: Effect of Dress, Credentials, and Rater's Sex

Ray

1986

Clothing and Textiles Research Journal

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“…For example, psychophysical research on audio-visual integration (Calvert, Brammer, & Iversen 1998;King & Calvert, 2001) can be useful in interpreting studies exploring perceptual influences such as judgments of pitch, timbre, and loudness. Likewise, the rich social psychology literature on the role of appearance and attractiveness (Byrne, London, & Reeves, 1968;Clifford et al, 1973;Dion, Berscheid, & Walster, 1972;Lapitsky & Smith, 1981) can be helpful in understanding the effects of clothing and attractiveness on the evaluation of performance quality and emotional engagement (a cognitive influence).…”

Section: Figmentioning

confidence: 99%

Seeing Music? What musicians need to know about vision

Schutz¹

2008

Empirical Musicology Review

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Music is inherently an auditory art form, rooted in sound, and generally analyzed in terms of its acoustic properties. However, as the process of hearing is affected by seeing, visual information does in fact play an important role in the musical experience. Vision influences many aspects of music -from evaluations of performance quality and audience interest to the perception of loudness, timbre, and note duration. Moreover, it can be used to achieve musical goals that are in fact acoustically impossible. As such, understanding the benefits of embracing (and the costs of ignoring) vision's role is essential for all musicians. Furthermore, since music represents a pervasive and ubiquitous human practice, this topic serves as an ideal case study for understanding how auditory and visual information are integrated. Given that some musically-based studies have challenged and even contributed to updating psychological theories of sensory integration, this topic represents a rich area of research, relevant to musicians and psychologists alike. Why can't orchestral musicians wear t-shirts and flip-flops? The answer to these and other similar questions is that visual information in fact plays an important role in shaping the musical experience. In addition to increasing overall excitement and interest performers use it strategically, harnessing its communicative power to supplement and augment their acoustic output. Therefore rather than a distraction, it is actually a tool useful for musical communication.Although the role of visual information in music is receiving increasing attention by researchers (see Thompson, Graham, &Russo, 2005 andFinnäs, 2001), this work is rarely formally disseminated to or discussed by performing musicians. In part, this gulf stems from the fact that performers and researchers often work in different buildings (if not departments or even universities), rarely attend the same conferences, and almost never read one another's journals. This is not only unfortunate but also ironic, given the obvious importance of this topic to performing musicians (and educators). Therefore the goal of this article is to review research on the role of visual information in music in a manner helpful to performers and researchers alike.The first section will touch on three topics essential to understanding the role of visual information in music. The second reviews the growing literature on this topic organized by musical level. The third discusses questions raised from this survey with respect to the ability of certain instruments to benefit most from the use of visual information. The fourth and final section sets forth reasons for embracing vision as a useful, irreplaceable, and above all natural part of the musical experience. For the sake of clarity and easeof-use, this structure is outlined (with section numbers) in the table of contents below.

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“…In Europe and European culture, children's dressing culture has exemplified not only the history of fashion (Bigelow, 1970;Mansfield, 1953), but also the textiles and materials available (Evans, 1949;Furches & Staley, 1963;Lee, 1953), the wealth of homes (Rensselaer, 1972(Rensselaer, /1931Workman, 2009), parents' consuming habits (Horridge & Richards, 1984;Stone & Sternweiss, 1994), and the practicality of clothes from a child's point of view (Inomata & Simizu, 1991) as well as the instrumental value of dressing: with dressing, children seek their own place and define themselves in relation to others (Ford & Drake, 1982;Lapitsky & Smith, 1981;Lennon, 1990;Morganosky & Creekmore, 1981;Perry, Schutz, & Rucker, 1983;Seitz, 2003) as adults do (Kwon & Drayton, 2007;McCullough, Miller, & Ford, 1977).…”

Section: Introductionmentioning

confidence: 98%

How were the pupils dressed in a country village in northern Finland in 1909–1939?

Heikkilä¹,

Määttä

2012

Early Child Development and Care

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Impact of Clothing on Impressions of Personal Characteristics and Writing Ability

Cited by 38 publications

References 11 publications

Perception of Physically Impaired Job Applicants: Effect of Dress, Credentials, and Rater's Sex

Perception of Physically Impaired Job Applicants: Effect of Dress, Credentials, and Rater's Sex

Seeing Music? What musicians need to know about vision

How were the pupils dressed in a country village in northern Finland in 1909–1939?

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