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1 Updated mirror model of art making and art perception: Top, model of art viewing (adapted from Leder et al., 2004); Bottom, model of art making (adapted from Tinio, 2013); Middle, posited key factors attended to in each stage. Note that stages are argued to operate in reversed order between the art making and art viewing activities. 

1 Updated mirror model of art making and art perception: Top, model of art viewing (adapted from Leder et al., 2004); Bottom, model of art making (adapted from Tinio, 2013); Middle, posited key factors attended to in each stage. Note that stages are argued to operate in reversed order between the art making and art viewing activities. 

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In this chapter, we review research on creativity with visual art, and, specifically, how this has been addressed within the psychology of art. We begin with a brief review of the history of psychology of art and the unique challenges associated with studying artistic creativity and expression. We then review current creativity studies that touch o...

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... Kim (2006), on the other hand, suggests that fluency, originality and elaboration can be observed in activities in which participants complete a drawing. Fluency, originality, flexibility and elaboration are evaluated in tasks that test divergent thinking (Pelowski et al. 2017). ...
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... Today, artists use a wider range of tools, which includes digital tools and artificial intelligences. The historical development of visual arts is a good example to illustrate how a domain may change over time, and how each domain is mostly a grouping of technics and rules which enable us to engage with an underlying space (Pelowski et al., 2017). The fact that photography is a different domain than painting, or that drawing on a computer is different from drawing on a canvas, strengthens the need for a stable theory of creative spaces accounting for the continuity in these explorative behaviors. ...
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... This interactive use of terminology to communicate opinions and justification using attributes appears to be a result of social-cultural and educational training in interacting with aesthetic goods 36 , and certainly might differ depending on social-cultural background and expertise 37,38 . Similarly, in scientific psychological assessments, there is a common practice of establishing correspondence between the concept of a term and behavioral outcomes 3,4 . Hence, studying the complex associations between judgment and attributes that can potentially be incorporated into numeric predicting patterns 4,5,36,39 , is intriguing considering that individuals appear to be adept at recognizing creativity. ...
... Similarly, in scientific psychological assessments, there is a common practice of establishing correspondence between the concept of a term and behavioral outcomes 3,4 . Hence, studying the complex associations between judgment and attributes that can potentially be incorporated into numeric predicting patterns 4,5,36,39 , is intriguing considering that individuals appear to be adept at recognizing creativity. ...
... This suggests that artworks may be deemed equally creative beyond a certain attribute intensity, potentially indicative of an aesthetic threshold. Previous research in the art domain has indeed suggested the existence of non-linear relationships 3,4,29,44,103 , although a comprehensive investigation into this aspect remains under-explored, especially in the field of creativity and psychological empirical art theories. Our machine learning approach holds promise in delving deeper into the concept of an aesthetic threshold. ...
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Creativity is a compelling yet elusive phenomenon, especially when manifested in visual art, where its evaluation is often a subjective and complex process. Understanding how individuals judge creativity in visual art is a particularly intriguing question. Conventional linear approaches often fail to capture the intricate nature of human behavior underlying such judgments. Therefore, in this study, we employed interpretable machine learning to probe complex associations between 17 subjective art-attributes and creativity judgments across a diverse range of artworks. A cohort of 78 non-art expert participants assessed 54 artworks varying in styles and motifs. The applied Random Forests regressor models accounted for 30% of the variability in creativity judgments given our set of art-attributes. Our analyses revealed symbolism, emotionality, and imaginativeness as the primary attributes influencing creativity judgments. Abstractness, valence, and complexity also had an impact, albeit to a lesser degree. Notably, we observed non-linearity in the relationship between art-attribute scores and creativity judgments, indicating that changes in art-attributes did not consistently correspond to changes in creativity judgments. Employing statistical learning, this investigation presents the first attribute-integrating quantitative model of factors that contribute to creativity judgments in visual art among novice raters. Our research represents a significant stride forward building the groundwork for first causal models for future investigations in art and creativity research and offering implications for diverse practical applications. Beyond enhancing comprehension of the intricate interplay and specificity of attributes used in evaluating creativity, this work introduces machine learning as an innovative approach in the field of subjective judgment.
... Before getting to these ndings, it is perhaps instructive to give an idea of how artistic ability or art production is often assessed for the purpose of most studies (see also Ref. [16] for review). Focusing on approaches used with adults, which best aligns with this book's overall aim, the ways in which researchers seek to measure artistic performance are, of course, diverse, and re ect different kinds of research questions: Researchers use a mix of self-report assessments, in which individuals are asked about their subjectively perceived creativity or penchant for art making, which can also reference or predict ability (see Ref. [17]). ...
... Studies have also recently used combinations of the free-drawing from keywords and starting-cue approaches in combination with asking participants to try to make an aesthetically pleasing image or even a "work of art," with scoring derived from a panel of task-naïve judges showing good ability to differentiate between more or less successful or skillful artists [23]. For a deep-dive into the nuances of the how, the how many, and the who regarding judges, see Kaufman and Baer [47]; also Ref. [16,48]. However, it is notable that, when studies use at least a single-blind procedure with a pre-de ned set of metrics, results tend to be quite robust and with high inter-rater agreement. ...
... 1 Researchers have also conducted some artistic case-studies or laboratory-based analyses in order to understand the artistic creation process. These often involve artists being asked to complete an artistic task (either their own standard working process or a more controlled activity) whilst being observed, especially tracking eye and hand movement ( [50][51][52][53]; see Ref. [16] for review), progressions between sketches and nal designs [54,55], or whilst artists narrate their thoughts and working processes [56][57][58][59]. ...
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This book, of which this chapter is a part, is about people who changed the ways in which they related to being visually creative or made art. Maybe they suddenly found themselves with a heightened interest in producing artworks, ramping up, greatly, their artistic production. Maybe they found themselves spontaneously able to see or think in novel ways, to make new associations, act with new confidence or courage; without inhibition. Maybe they found themselves producing in new media; in different styles or colors. Maybe they started up as artists for the first time ever. Or, maybe they felt their artistic interests and abilities slipping, changing, becoming something different—whether worse or better. Within the forthcoming chapters, these changes serve as the basis for a number of intriguing discussions of the equally changing lives, bodies, and especially brains of individuals living with neurological diseases, and with the overarching possibil- ity, if not explicit hypothesis, that these changes may be connected. Whether in the emerging body of case studies, discussions of caregivers, causative approaches, or even the reflections of artists about their lives and output, it is this bridge that holds the promise of this book’s very topic. Might—by changing our brain or our actions— we reveal something about what it means to have these disorders, about how we typically think and perceive; about how and why we make art? Similar interests, given the existence of this book, are evidently held by clinicians, neurologists, and working artists. However, this also begs a fundamental question: In order to discuss individuals becoming more, less, or differently involved in art, we must first have an idea of from what and to where these changes might proceed.
... Visual creativity refers to the appreciation and ability to produce novel esthetically pleasing visual forms (e.g., sketches, paintings, and graphic design). The process of creating these forms depends heavily on visual imagery (Heilman et al., 2003;Sack et al., 2008;Pelowski et al., 2017) and the ability to combine disparate visual representations to form new entities. The production and appreciation of visual products are subserved by the two visual pathways (Chakravarty, 2012). ...
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Introduction This study sought to elucidate the cognitive traits of visual artists (VAs) from the perspective of visual creativity and the visual system (i.e., the most fundamental neural correlate). Methods We examined the local and long-distance intrinsic functional connectivity (FC) of the visual system to unravel changes in brain traits among VAs. Twenty-seven university students majoring in visual arts and 27 non-artist controls were enrolled. Results VAs presented enhanced local FC in the right superior parietal lobule, right precuneus, left inferior temporal gyrus (ITG), left superior parietal lobule, left angular gyrus, and left middle occipital gyrus. VAs also presented enhanced FC with the ITG that targeted the visual area (occipital gyrus and cuneus), which appears to be associated with visual creativity. Discussion The visual creativity of VAs was correlated with strength of intrinsic functional connectivity in the visual system. Learning-induced neuroplasticity as a trait change observed in VAs can be attributed to the macroscopic consolidation of consociated neural circuits that are engaged over long-term training in the visual arts and aesthetic experience. The consolidated network can be regarded as virtuoso-specific neural fingerprint.
... Before getting to these ndings, it is perhaps instructive to give an idea of how artistic ability or art production is often assessed for the purpose of most studies (see also Ref. [16] for review). Focusing on approaches used with adults, which best aligns with this book's overall aim, the ways in which researchers seek to measure artistic performance are, of course, diverse, and re ect different kinds of research questions: Researchers use a mix of self-report assessments, in which individuals are asked about their subjectively perceived creativity or penchant for art making, which can also reference or predict ability (see Ref. [17]). ...
... Studies have also recently used combinations of the free-drawing from keywords and starting-cue approaches in combination with asking participants to try to make an aesthetically pleasing image or even a "work of art," with scoring derived from a panel of task-naïve judges showing good ability to differentiate between more or less successful or skillful artists [23]. For a deep-dive into the nuances of the how, the how many, and the who regarding judges, see Kaufman and Baer [47]; also Ref. [16,48]. However, it is notable that, when studies use at least a single-blind procedure with a pre-de ned set of metrics, results tend to be quite robust and with high inter-rater agreement. ...
... 1 Researchers have also conducted some artistic case-studies or laboratory-based analyses in order to understand the artistic creation process. These often involve artists being asked to complete an artistic task (either their own standard working process or a more controlled activity) whilst being observed, especially tracking eye and hand movement ( [50][51][52][53]; see Ref. [16] for review), progressions between sketches and nal designs [54,55], or whilst artists narrate their thoughts and working processes [56][57][58][59]. ...
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For a book devoted to the overlap of visual art making and creativity with the putatively changing brain, it makes sense to talk about what we know of the typical artist and the artistic brain. What are the regions of interest—in fact, are there any—that can be connected to the specific production of art? Are there any particular areas or neurobiological aspects that show differences between more or less successful artists? What, thinking more broadly, techniques, perceptual abilities, cognitive processes, or cultural or life factors may contribute to shaping artistic production and development? What, so to speak, makes an artist? And, returning to the aim of this book itself, might we find some overlap when considering the changing circumstances—be they behavioral or biological—in neurodegenerative disorders? In this chapter, we review these topics, providing a walk-through of the present state of knowledge on art making, as it relates to the brain, but also considering theories and factors underpinning artistic production as well as current arguments on specific factors that may contribute to making art and relatively more successful artists. This is geared primarily at the researcher interested in artistic creativity and/or neurodegeneration but who may not be well-versed in current empirical art study. By putting this collection of findings together, however, it is also our hope that this chapter will be of use to a broader audience and serve as a guide and a set of sign-posts and ideas to navigate the discussions throughout this book.
... Creative workshops are treated by some researchers as an independent branch of art or a decidedly effective method of creating an art/design object. The criteria for evaluating creativity and the problems of performing creative workshops in science are extensively explored in the collection of articles by D. Dutton and M. Krauszc [12]. These relevant topics are also addressed in M. Pelowski, H. Leder, P.P.L. Tinio [13]. ...
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CONDUCTING CREATIVE WORKSHOPS IN THE PROCESS OF DISTANCE LEARNING AT HIGHER EDUCATION INSTITUTIONS Vida Davidaviciene1, Veronika Zvirble2*, Jaroslav Daveiko3 1Department of Business Technologies and Entrepreneurship, Vilnius Gediminas Technical University, Sauletekio al. 11, LT-10223 Vilnius, Lithuania: vida.davidaviciene@vilniustech.lt 2*Department of Design, Vilnius College of Technologies and Design, Antakalnio str. 54, LT-10303 Vilnius, Lithuania: v.zvirble@vtdko.lt 3Department of Design, Vilnius College of Technologies and Design, Antakalnio str. 54, LT-10303 Vilnius, Lithuania: j.daveiko@vtdko.lt Abstract In 2020, with the COVID-19 pandemic taking over the world, many educational institutions began to implement distance learning processes. As a result of the introduction of hasty quarantine, there have been challenges in schools and higher education institutions in organizing creative workshops that have previously taken place in direct contact with physical materials. In the course of any teaching or study, there are important free workshops on which students can grow their creativity. But some higher education institutions have refused to carry out such activities remotely during the quarantine period due to the lack of effective contactless creative workshop methodologies. The article raises the idea that former contact creative workshops can be enforced in a virtual space or at a safe social distance, describes the programs, methodologies, and results used. The publication discusses the 2020-2021 period and the results of the study “Conducting creative workshops online” conducted in higher education institutions. The research aims to investigate the specifics of remote ways of conducting creative workshops and to identify techniques and tools suitable for revealing the student's creative potential in performing contact tasks in a virtual environment. In preparing the article, the methods of literature analysis, synthesis, and comparison were used, the method of the online survey was chosen for the collection of empirical data, and the data processing was performed by the methods of descriptive statistics and evaluation of qualitative indicators. The results of the research revealed that by working remotely and using certain techniques and distance learning and work tools, it is possible to successfully organize creative workshops, thus achieving the goals set in the study programs and developing creativity. It was found that the most acceptable object of creative workshops from the point of view of all respondents is a certain object or image, and the participants would choose materials and tools for remote workshops from their surroundings, but would not want to buy in a store. It was also found that a significant number of respondents find it difficult to carry out creative processes remotely and the vast majority offer workshops in open spaces (outdoors) in the event of a pandemic. The article presents the detailed results of this study and a discussion of how to effectively organize creative workshops remotely when it is not possible to do by contact way, such as during a pandemic period. Keywords: Creative workshops, social distance, creative environment, interdisciplinary cooperation, distance creative teaching methods, distance learning, digitization.
... • (Pelowski, Leder, and Tinio, 2017). ...
Thesis
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Creativity can create original solutions, ideas, and new uses for concrete or abstract objects. However, even though professional artists work in the creative industry, they lack the knowledge of how their process works. There is a gap between empirical artistic understanding and scientific research. The artistic community is eager to learn the means of their creative processes. Some studies mention a creative personality concept, but this summarizes artists’ different innovative approaches as only one path. This study aims to find and classify the connection between the creative artistic process’s main paths or way and their personality traits. A "path" is the order of steps visual artists take to create a work of art from scratch to the final output. The main interest of this research is to support artists in analyzing their creative processes. Professional visual artists were contacted by email and were informed about the objectives and steps to follow during the experiment. Participation consisted of 4 sessions over a week. The experiment consisted of two phases. During the first phase, participants answered the Eysenck Personality Questionnaire-Revised Abbreviation. After finishing the first phase, they received topics for developing drawings. The second phase consisted of three iterations of a drawing task and creative process’ analysis using the Creative Flow tool. Participants received the same three randomized word topics and, after a drawing session, explained the steps of their Creative Process using Google Jamboard. After finishing the data analysis, the results showed some trends between personality and the Creative Process. More studies may need to establish this relationship in different contexts or characteristics from the participants’ sample.
... Material: Poster color, art paper A3, wiping cloth. 6 The practice of Making Advertising ...
... As students in the Elementary Teacher Education Department, they must be collaborating with such ideas, techniques, art insight, and knowing the character of objects [5]. A large number of overlapping abilities that must be utilized in visual art-making, perception, memory, motor control, language, spatial reasoning, not to mention imagination, also make art one of the most complex human activities [6]. ...
... Third, the process has proposed three stages: perception processing, extraction, and abstraction (in which significant features are delineated) and final execution. Fourth, creativity in art, as the result of domain-relevant skills relating to expertise developed through education and life experience, as well as essential motivation, intelligence, or talent [6]. ...
... First, it is useful to briefly consider present arguments for important factors in the general task of producing art. The present level of theory on this topic is still rather sparse (see Pelowski et al., 2017b for review), with most coming from discussions of general creation or visual creativity. However, several theories do highlight important aspects. ...