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  • Print publication year: 2014
  • Online publication date: March 2015

5 - Aestheticsassessment

from PART I - Concepts, theories and methods


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Amabile, T. M. (1983). The social psychology of creativity. New York: Springer-Verlag.
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Baer, J., Kaufman, J. C., and Riggs, M. (2009). Rater-domain interactions in the Consensual Assessment Technique. International Journal of Creativity and Problem Solving, 19, 87–92.
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Galenson, D. W. (2006). Old masters and young geniuses: The two life cycles of artistic creativity. Princeton, NJ: Princeton University Press.
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Graham, D. J., and Field, D. J. (2007). Statistical regularities of art images and natural scenes: Spectra, sparseness and nonlinearities. Spatial Vision, 21, 149–64.
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Haller, C. S., Courvoisier, D. S., and Cropley, D. H. (2010). Correlates of creativity among visual art students. International Journal of Creativity and Problem-Solving, 20, 53–71.
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Hennessey, B. A., Kim, G., Guomin, Z., and Weiwei, S. (2008). A multicultural application of the Consensual Assessment Technique. International Journal of Creativity and Problem Solving, 18, 87–100.
Hickey, M. (2001). An application of Amabile’s Consensual Assessment Technique for rating the creativity of children’s musical compositions. Journal of Research in Music Education, 49, 234–44.
Hughes, J. M., Foti, N. J., Krakauer, D. C., and Rockmore, D. N. (2012). Quantitative patterns of stylistic influence in the evolution of literature. Proceedings of the National Academy of Sciences, 109, 7,682–86.
Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press.
Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo, 39, 155–62.
Johnson, M. (2007). The meaning of the body: Aesthetics of human understanding. Chicago: University of Chicago Press.
Johnson, M., Muday, J., and Schirillo, J. (2010). When viewing variations in paintings by Mondrian, aesthetic preferences correlate with pupil size. Psychology of Aesthetics, Creativity, and the Arts, 4, 161–67.
Kaufman, J. C., Gentile, C. A., and Baer, J. (2005). Do gifted student writers and creative writing experts rate creativity the same way?Gifted Child Quarterly, 49, 260–265.
Kaufman, J. C., Lee, J., Baer, J., and Lee, S. (2007). Captions, consistency, creativity, and the consensual assessment technique: New evidence of validity. Thinking Skills and Creativity, 2, 96–106.
Kaufman, J. C., Baer, J., Cole, J. C., and Sexton, J. D. (2008). A comparison of expert and nonexpert raters using the Consensual Assessment Technique. Creativity Research Journal, 20, 171–78.
Kaufman, J. C., Plucker, J. A., and Baer, J. (2008). Essentials of creativity assessment. New York: Wiley.
Kaufman, J. C., Baer, J., and Cole, J. C. (2009). Expertise, domains, and the Consensual Assessment Technique. Journal of Creative Behavior, 43, 223–33.
Kaufman, J. C., Evans, M. L., and Baer, J. (2010). The American Idol Effect: Are students good judges of their creativity across domains?Empirical Studies of the Arts, 28, 3–17.
Kaufman, J. C., Niu, W., Sexton, J. D., and Cole, J. C. (2010). In the eye of the beholder: Differences across ethnicity and gender in evaluating creative work. Journal of Applied Social Psychology, 40, 496–511.
Kaufman, J. C., and Baer, J. (2012). Beyond new and appropriate: Who decides what is creative?Creativity Research Journal, 24, 83–91.
Kaufman, J. C., Baer, J.Cropley, D. H., Reiter-Palmon, R., and Sinnett, S. (2013) Furious activity vs. understanding: How much expertise is needed to evaluate creative work?Psychology of Aesthetics, Creativity, and the Arts, 7, 332–40.
Kaufman, S. B., and Kaufman, J. C. (2007). Ten years to expertise, many more to greatness: An investigation of modern writers. Journal of Creative Behavior, 41, 114–24.
Kozbelt, A. (2001). Artists as experts in visual cognition. Visual Cognition, 8, 705–23.
Kozbelt, A. (2004). Originality and technical skill as components of artistic quality. Empirical Studies of the Arts, 22, 157–70.
Kozbelt, A. (2006). Psychological implications of the history of realistic depiction: Ancient Greece, Renaissance Italy, and CGI. Leonardo, 39, 139–44.
Kozbelt, A. (2007). A quantitative analysis of Beethoven as self-critic: Implications for psychological theories of musical creativity. Psychology of Music, 35, 147–72.
Kozbelt, A. (2008). Longitudinal hit ratios of classical composers: Reconciling “Darwinian” and expertise acquisition perspectives on lifespan creativity. Psychology of Aesthetics, Creativity, and the Arts, 2, 221–35.
Kozbelt, A. (2011). Neuroaesthetics: Where things stand now. The Evolutionary Review, 2(1), 137–46.
Kozbelt, A., and Burger-Pianko, Z. (2007). Words, music, and other measures: Predicting the repertoire popularity of 597 Schubert lieder. Psychology of Aesthetics, Creativity, and the Arts, 1, 191–203.
Kozbelt, A., and Meredith, D. (2010). A note on trans-historical melodic originality trends in classicalmusic. International Journal of Creativity and Problem Solving, 20, 109–25.
Kozbelt, A., and Meredith, D. (2011). Composer age and melodic originality: A hierarchical linear modeling approach. International Journal of Creativity and Problem Solving, 21, 63–79.
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Latto, R., Brain, D., and Kelly, B. (2000). An oblique effect in aesthetics: Homage to Mondrian (1872–1944). Perception, 29, 981–87.
Leder, H., Belke, B., Oeberst, A., and Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489–508.
Leder, H., Gerger, G., Dressler, S. G., and Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6, 2–10.
Lerdahl, F., and Jackendoff, R. (1983). A generative theory of tonal music. Cambridge, MA: MIT Press.
Levinson, J. (Ed.) (2003). The Oxford handbook of aesthetics. New York: Oxford University Press.
Locher, P., Overbeeke, K. J., and Stappers, P. (2005). Spatial balance of color triads in the abstract art of Piet Mondrian. Perception, 34, 169–89.
Locher, P. J. (2003). An empirical investigation of the visual rightness theory of picture perception. Acta Psychologica, 114, 147–64.
Locher, P. J., Smith, J. K., and Smith, L. F. (2001). The influence of presentation format and viewer training in the visual arts on the perception of pictorial and aesthetic qualities of paintings. Perception, 30, 449–65.
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McManus, I. C., Cook, R., and Hunt, A. (2010). Beyond the Golden Section and normative aesthetics: Why do individuals differ so much in their aesthetic preferences for rectangles?Psychology of Aesthetics, Creativity, and the Arts, 4, 113–26.
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