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U \Zfj.Clg\GG!J Ill IM1MU.II.II. I. IIJ l.lliil.Ulllllli llll.lU.l.im i I .J i:.ii mi., iii.li -• . hi •• •• •• - •••—-. 3 »». ft i >\. r f U \ZfJ.ClG\GG!J via u ifw /—. ^2 •• s«-c *$h.- < >! I k? * " '4 1 ' • - '".-jut.,:/ - \ '-*o^r r-*'<*<{ > • .<n#)* « >.'• it 'J. o " , 'S ' 1 jl ' , *•* *.#* •rjt Society for the Psychology .>;, «s$- 4.^ ! oi Aesthetics, Creativity, and the Arts ! Vol 5 (2) \ Winter 2005 In this issue: v- ;md Cognition! Consequences for * '"* -jVfl^ Kxperimental Aesthetics _ Hel mut Lcder, f6*'0 JRi 1 Mr«»thec Auguslin. and Benno Belke tS^^f ( ategorization Affects Hedonic vMSiS^9*^m * Contrast in the Visual Arts v • **£^'^ R • -*/>&*. Si,0 7? * M1. 'issaJ. Dolese, DebraA.Zcllner, ^/4 M. .his Vasscrman, and Scott Parker The Aesthetic Trinity: Vwe, Being Moved, Thrills \ ':ui;mir J. Konecni n.li dual Differences in the Validity , ^>gf lYer Ratings of Creative • >"'uiiigs: For.hidi'WM^( rea!ivity Dot- u "Take (?sk; t •» Ki»«)\\ * mi :• l r.v Dear Division 10 Members, We'd like to thank you for your kind words on the last issue, and your offers for help and suggestions. Please keep them coming (we're especially receptive to kind words). If you have a manuscript or are working on one, or have an idea for a special issue and would like to discuss it with us, please just send us an email (listed on the masthead page). This issue begins with an interview with Chinese master landscape painter Zhemin Ji. It is his beautiful painting that graces the cover of this issue. We were fortunate to get an interview with him, as he was visiting Kean University and had an exhibition on campus. We would like to express our gratitude to Mr. Ji, his daughter Annie Ji, who served as a translator for us, and to Peijia Zha, who assisted us in the preparation of the interview. We hope you find Mr. Ji's insights as fascinating as we did. There are four scholarly articles in this issue of the Bulletin. The first is Helmut Leder's, "Art and cognition! Consequences for experimental aesthetics." Helmut examines the issue of what it might mean to understand and measure aesthetic appreciation, building on his previous work in developing an information-processing model of aesthetics. Stephen J. Dollinger asks whether judges of creative production need to be creative persons themselves. In "Individual differences in the validity of peer ratings of creative drawings: For judging creativity does it 'Take one to know one?'" Stephen looks at the question empirically by using Amabile's Consensual Assessment Technique with more creative and less creative college students. The answer to Stephan's question is in the article. In "The aesthetic trinity: Awe, being moved, thrills," Vladimir J. Konecni proposes that three related states — aesthetic awe, being moved or touched, and thrills or chills - should be employed as more appropriate and useful descriptions of response to great works of art than terms such as "aesthetic emotions" and "musical emotions." In "Categorization affects hedonic contrast in the visual arts," Melissa Dolese, Debra Zellner, Marsha Vasserman, and Scott Parker examine aspects of Fechner's Principle of Aesthetic Contrast using art stimuli. In an experimental study, they attempt to demonstrate positive hedonic contrast using paintings and to examine the influence of categorization on positive hedonic contrast. We hope you enjoy the issue and choose to participate in the conversation on psychology and the arts in the Bulletin. Best, Jeff and Lisa Smith Contents Title: Page: APA Division 10 Chairs and Officers 2 Interview with artist Zhenmin Ji 5 Art and Cognition! Consequences for Experimental Aesthetics 11 Helmut Leder, Dorothee Augustin, and Benno Belke Categorization Affects Hedonic Contrast in the Visual Arts 21 Melissa J. Dolese, Debra A. Zellner, Marsha Vasserman, and Scott Parker The Aesthetic Trinity: Awe, Being Moved, Thrills 27 Vladimir J. Konecni Individual Differences in the Validity of Peer Ratings of Creative Drawings: Forjudging Creativity Does It "Take One to Know One? 45 Stephen J. Dollinger Message from the President 56 Message from the President-Elect 57 Credit on Cover Art: Finding Its Way Downhill (26.8 inch x 53.6 inch) Zhenmin Ji ^nywwjpyaiw^tfwy i Bulletin of Psychology and the Arts Editors— Co-Editors: Jeffrey K. Smith Department of Educational Psychology Graduate School of Education Rutgers University New Brunswick, NJ 08901 Lisa F. Smith Psychology Department Kean University Union, NJ 07083 Associate Editor: Izabella I. Waszkielewicz Department of Educational Psychology Rutgers University New Brunswick, NJ 08901 Board of Editors: Sarah Benolken, New York, NY Paul Camic, Columbia College Diana Deutsch, University of California, San Diego Leonid Dorfman, Perm State INstitute of Arts and Culture Gregory J. Feist, University of California, Davis Norman Holland, University of Florida Paul Locher, Montclair State University Pavel Machotka, University of California, Santa Cruz Mark Runco, California State University, Fullerton Dean Keith Simonton, University of California, Davis Jerome Singer, Yale University Robert J. Sternberg, Yale University Will Wadlington, Pennsylvania State University Ellen Winner, Boston College -J p Division 10 Society for the Psychology of Aesthetics, Creativity, and the Arts Officers: President —Paul Locher Secretary-Treasurer—Lauren S. Seifert Department of Psychology Department of Psychology Montclair State University Malone College Upper Montclair, NJ 07043-1624 515 25th Street N W Library, (973)655-7381 3rd Floor Canton, OH 44709-3823 FAX: (973) 655-5121 (330)471-8558 President-Elect—Gregory Feist Council Representative—Sandra Russ Department of Psychology University of California at Davis Members-at-Large-- Davis5CA 95616 James C. Kaufman (03-06) (530)752-8178 Margery B. Franklin (02-05) Jonathan Plucker (02-05) Past President— Diana Deutsch Department of Psychology UC San Diego LaJolla,CA92093 (858)534-4615 FAX: (858) 453-4763 Chairs: Membership-Paul Locher, Montclair State University Fellows- Jerome L. Singer, Yale University - Publications-Jeffrey Smith, Rutgers University and Lisa Smith, Kean University Nominations-Sandra Russ, Case Western University Awards-Gregory Feist, University of California at Davis Web Site-Michael Lucas, California State University, San Bernardino A General Call for Submissions Ideas for Special Issues Offers to Serve as Reviewers Suggestions for the Bulletin As the editors of the Bulletin of Psychology and the Arts, we are actively seeking out collaborators in this endeavor. We are asking for manuscript submissions to the journal along with ideas for special issues, new features, offers to serve as reviewers of submitted manuscripts, and other suggestions for making the Bulletin an outstanding publication by and for Division 10, the Society for the Psychology of Aesthetics, Creativity, and the Arts. Please send any correspondence to Jeffrey Smith at: [email protected] **•!*&• , * t- ZHENMIN JI AND HIS LANDSdPAE PAINTINGS "...boldly start, boldly draw, and end carefully." Zheranin Ji is from Tianjin, China which is located near the capital city of Beijing. He studied Western oil painting and Chinese traditional painting at the Tianjin Fine Art Academy where he received his BFA in 1964. He is a member of the Artists Association of China, serves on the Executive Council of Calligraphers in Tianjin and is Vice President of the Nankai Research Institute of Chinese Paintings. Zhenmin Ji's works have been included in national art exhibitions and he has received numerous prizes and awards. Overseas, his paintings have been shown in countries such as Korea, Singapore, and Malaysia. Additionally, the Japanese Artist's Association hosted two solo shows of his artwork. Zhenmin Ji's landscape paintings have been presented as gifts to public dignitaries of Great Britain, the Netherlands, Switzerland, and Germany when delegates of the Chinese government visited these countries. Mr. Ji has published works titled Art Skills for Elementary Training and An Album of Landscapes by Zhenmin Ji. Editors: Can you please tell us how you began? How did you get started as an artist? Artist: I started painting when I was a boy. As a little boy, I felt free to draw everything. I grew up in a rural area of China. At that time, rural areas in China did not have any tools for painting. Sometimes not even a pencil and paper. I always drew on the ground with whatever I had. Sometimes, I used stones to draw on the ground or on the wall. That was how I started to paint. Editors: Did you get any training? Did you go to a school for the arts? Artist: I went to elementary school, middle school!, and high school. At that time, schools would ask students to prepare school newspapers. I drew all of the pictures for these newspapers in my schools. My fine arts teacher noticed my pictures and recognized my potential for painting. Before I graduated from high school, my fine arts teacher highly recommended that I take the entrance examination for the Hebei [a province in northern China] Fine Arts Institute. I was admitted. That institute is now called Tianjin Academic of Fine Arts. I studied oil painting in the first three years until I realized that I was actually strongly interested in Chinese painting. So I submitted an application asking for a transfer into the Chinese painting department. They approved my application. So, I learned Chinese painting in my last two college years. I became a fine arts teacher after graduating from college. I have taught fine arts for forty years. Editors: Would you say that you follow traditional forms or do you also invent in your paintings? Artist: Firstly, Chinese painting should be associated with Chinese traditions. You have to follow traditional painting styles when you are learning to paint. Professionals do not accept works from artists with poor traditional painting styles. Therefore, to get approval from professionals, one had to obtain the basic skills that reflected traditional painting styles.
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