Thematische Bibliographien / Artists' psychology

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Artists' psychology“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Artists' psychology"

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Braden, L. E. A. „Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition“. American Behavioral Scientist 65, Nr. 1 (15.10.2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.
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Amanullah, Juni, und Fivin Bagus Septiya Pambudi. „“PSIKOLOGISENI” SENIMAN ANTARA PERSEPSI, FANTASI DAN EMOSI“. SULUH: Jurnal Seni Desain Budaya 4, Nr. 1 (02.02.2021): 89–103. http://dx.doi.org/10.34001/jsuluh.v4i1.2422.

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In the science of human psychology is a creature that has a soul and in a life that has a soul that is reflected in human behavior and activities in their daily lives. Beauty or aesthetics is something that is related to something beautiful and a special taste in enjoying it. In art life when an artist feels a lot of what is inside him, the results will be divested into a work of art. From the two disciplines of science between psychology and art, the writer uses psychological methods, namely perception, fantasy, feeling and emotion to dissect in the life of art with a subject, namely artists. Perception in the world of art by artists is the act of compiling, recognizing, and interpreting sensory information in order to provide a picture and understanding of the environment in the world of art. Artist's fantasy is something that is related to imagination or something that only exists in the mind or mind to be poured into a work of art. Artist's emotion is a feeling (intense / frequent) aimed at something more physical, that is, a work of art, the artist's emotions are expressed as a reaction to the results of an artist's perceptions and fantasies.
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Hanrahan, Stephanie J. „Sport Psychology and Indigenous Performing Artists“. Sport Psychologist 18, Nr. 1 (März 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.
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Sloboda, John. „Psychology for performing artists: Butterflies and bouquets“. Personality and Individual Differences 19, Nr. 4 (Oktober 1995): 595–96. http://dx.doi.org/10.1016/0191-8869(95)90002-0.

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Valentine, Elizabeth. „Psychology for performing artists—Butterflies and bouquets“. Behaviour Research and Therapy 33, Nr. 2 (Februar 1995): 239–40. http://dx.doi.org/10.1016/0005-7967(95)90079-9.

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Vaughn, Michael Patrick. „Supermodel of the World: The Influence of Legitimacy on Genre and Creativity in Drag Music Videos“. Social Psychology Quarterly 82, Nr. 4 (23.09.2019): 431–52. http://dx.doi.org/10.1177/0190272519869314.

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Who gets to define what counts as art when a genre is in flux? In the present analysis, I find that legitimated artists may also be able to act as intermediaries, such as critics and gatekeepers. In doing so, these artists-as-intermediaries, under certain conditions, can shift the meaning of the genre as it transitions. Using the current transition of drag performance from scene-based to industry-based genre as a case, I present a multistage qualitative analysis of televised and digital drag performance. I report three key findings from this analysis: (1) some legitimated artists can become intermediaries when their genre is in transition, (2) these legitimated artists-as-intermediaries can influence genre expectations, and (3) legitimated artists-as-intermediaries’ influence on genre expectations can, in turn, influence the creative expression of other artists. Each of the three findings, however, has the effect of limiting creativity of the artist-as-intermediary and future artists within the industry-based genre.
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Pejić, Biljana S. „PSIHOLOŠKE STUDIJE LIČNOSTI UMETNIKA“. Nasledje Kragujevac XX, Nr. 55 (2023): 219–33. http://dx.doi.org/10.46793/naskg2355.219p.

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The paper analyzes different theoretical and empirical approaches to the personality of the artist. It presents a synthesis of various relevant ideas and their perception from a more gen- eral level, to assemble these ideas into a broader picture concerning the issue of the artist’s per- sonality. The analysis shows that all psychological theories were focused on individual aspects of the personality of the artist. Psychoanalytic approaches are based on the idea of discovering personal neurotic roots hidden in the subconsciousness of the creator. Gestalt psychology sees creation as based on talent, and gift and the artist is observed as a person with specially devel- oped capabilities for perception and visual thinking. Humanistic psychology sees creativity as a universal human potential and trait theories are looking for the unique composition of personality traits in the artist. However, each one is individually important, because it con- tributed to the understanding of artistic creation and the personality of the artist as a whole. Throughout history, the artists were observed as great creators, or as madmen. Varieties and differences between the concepts could be understood by the fact that each artist is great and unique in his/her originality.
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Roslan, Aimi Atikah, Nurul Shima Taharuddin und Nizar Nazrin. „The Psychology of Grey in Painting Backgrounds“. Idealogy Journal 7, Nr. 2 (01.09.2022): 1–7. http://dx.doi.org/10.24191/idealogy.v7i2.358.

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This writing is about a study of the psychology of the colour Gray used on the painting backgrounds. The study concerns how the colour Gray affects the behaviour of artists and has an impact on the production of works of art. A descriptive research using qualitative research method through surveys and observations as instrument. The artist uses the colour Gray as his guide in producing works to give a sense of emotional strength, feelings of melancholy, passion and so on. Each colour has a different psychological and emotional effect.
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Stack, Steven. „Suicide Among Artists“. Journal of Social Psychology 137, Nr. 1 (01.02.1997): 129–30. http://dx.doi.org/10.1080/00224549709595421.

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Moyle, Gene M. „Coaching performing artists.“ Consulting Psychology Journal: Practice and Research 71, Nr. 2 (Juni 2019): 97–106. http://dx.doi.org/10.1037/cpb0000127.

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Dissertationen zum Thema "Artists' psychology"

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Gallay, Lillian Hemingway. „Understanding and Treating Creative Block in Professional Artists“. Thesis, Alliant International University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567547.

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This project provides a broad exploration of factors that can enhance or inhibit creative performance in professional artists, including writers, visual artists, and musicians. Potential causes of the difficulties creative clients contend with are surveyed, as well as a range of interventions to address them. The first section reviews six major factors that can impact artistic creativity (also called Big C or eminent creativity) both positively and negatively, including the relatively stable and enduring factors of artists’ personality traits, cognitive makeup, and psychopathology. This section also reviews more malleable elements of creativity that the therapist may be able to affect directly, namely, motivational orientation, mood, and environmental influences. The second section is an investigation of creative block: its antecedents, phenomenology, and proposed classifications of different types of block. The final section focuses on interventions to facilitate creative performance in artists, both those who are suffering from artist block and those who are seeking to boost their creative achievement more generally. Interventions reviewed include cognitive-behavioral, Gestalt, psychodynamic, meditative, and compassion-focused approaches. In addition, field interviews conducted with psychologists with expertise in the clinical treatment of professional artists are summarized. The project concludes with a discussion of possible reasons for the scarcity of empirical literature on the subject of creative block and potential avenues of exploration for future research.

Keywords: Arts, artists, musicians, writers, creativity, psychotherapy, self-compassion, perfectionism, self criticism.

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Schroerlucke, David. „Choke artists and clutch performers| A Critical Interpretive Synthesis“. Thesis, California Institute of Integral Studies, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643162.

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The colloquial phrases "choke artist" and "clutch performer" are used to refer to individuals who have a tendency to falter or excel, respectively, when performing under pressure conditions. The objective of this study was to conduct a broad survey of the extant literature on the topic of performance under pressure and to offer a Critical Interpretive Synthesis (CIS) of that literature. The output of this project was multi-faceted and included an organized exposition and coarse-grained critical analysis of the literature on performance under pressure, an interpretive synthesis containing multiple suggestions for improving the literature base, and a reflexive account of the experimental use of the CIS methodology.

The critical analysis centered on a critique of the field's predominantly positivistic approach, which has produced a fragmented and ambiguous literature pervaded by enduring difficulties across the domains of conceptualization, research, theory, and practice. The interpretive synthesis was subsequently organized around the theme of advocating for a more balanced and integrative approach to both inquiry and intervention that honors the inevitable role of subjectivity in the pressure-performance relationship.

Specific suggestions for improving the literature base included incorporating a subjective self-assessment component into the operational definition of choking, complementing experimental studies with more qualitative and mixed-methods research, constructing interactional theories of choking that consider the important role of context and meaning-making, and treating athletes and performers more holistically by focusing on personal development and overall well-being in addition to teaching psychological skills.

Perhaps the most provocative suggestion to emerge from the present synthesis is that, as part of a more integrative and holistic approach to psychological training for sport and performance, the Western academic and applied sport psychology communities should begin to look beyond the relaxation and concentration benefits of Eastern mindfulness practices in order to bring into view the potentially broader benefits of the ego-transcendent functions of the spiritual traditions from which these practices derive.

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Cline, Donna. „Criminal faces| Clinical experiences of forensic artists“. Thesis, Pacifica Graduate Institute, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3567525.

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The forensic artists who create suspect composite drawings of wanted criminals for law enforcement agencies are frequently exposed to the details of traumatic events. The manner and degree to which this exposure to details of violence affects the perceptions and lives of these artists comprise the basis of this phenomenological study. Interviews with 8 experienced forensic artists include inquiries about their background and training and their perceptions of the most disturbing type of crimes, and also about how they subjectively process the traumatic material received via the cognitive interviews that they conduct with victims and witnesses of violent crime. Perceptions of a more comprehensive effect of violence on society are also explored. Other pivotal aspects of this study include the manner in which memories of criminal cases are evoked, and specifically the way in which specific facial features that these artists have imaged in composites may act as triggers to these memories. The results of this inquiry reveal the varied degrees to which these forensic artists are conscious of the effects of this repeated exposure to traumatic detail. However, conscious revelations of such an impact on their lives occur frequently during the research interviews due to the narrative process of specific cases with which they had been involved. Recommended future research includes further exploration of specific facial features as triggers to traumatic memory and of the gender of the forensic artist may have on the perception of facial features and their translatable meanings within the context of a suspect composite interview.

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Sheah, Julie. „Reading Dreams| Representation of Dreams Through Artists' Books“. Thesis, The George Washington University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591082.

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Within pages and spreads, a reader can sometimes experience someone’s stream of consciousness. The book’s narrative, images, prose, and other components can break free from the parameters of a conventional book, unbound by the rules of formatting styles, grammar, and narrative. An artists’ book is free to be confusing, delightful, and horrifying. When creating an artists’ book to represent a dream, the difficulty of solidly recounting images and events that existed only in my mind creates a barrier between the reader and me. This barrier makes me feel inarticulate and ineffectual in that one of my main objectives as an artist is to coherently express an idea. While no medium possesses the capacity to fully transmit a dream, the artists’ book is one of the most comprehensive, artistic representations of a dream, and the parallels between experiencing a dream and experiencing a book allow for the terms “artist” and “dreamer” to shift interchangeably.

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Chaudoin, Frank Joseph. „The Psychological Experience of Advanced-Level Martial Artists during Board Breaking Training| A Phenomenological Study“. Thesis, Grand Canyon University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10682817.

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Presently, martial arts board breaking is a common constituent of the curricula found in sanctioned martial arts training programs. Despite advancements to training, sport evolution, and technological advancements, there remains a high risk for injury in martial arts board breaking. Through years of training and practice, advanced-level martial artists obtain the skills necessary to perform the board break without suffering injury. The problem statement of this research study was the following: It was not known how martial artists psychologically experience non-injury-resulting board breaks. Ten advanced-level Kajukenbo Tum Pai practitioners in the Northwest region of the United States were interviewed for this qualitative descriptive phenomenological study. The General Aggression Model, Anxiety Direction and Intensity Theory, PETTLEP Model of Motor Imagery, Model of Mental Toughness, and Buddhist Psychological Model guided the rhetoric of interview questions, and, provided the theoretical foundation for data collection in this study. Data collection consisted of in-depth, semi-structured interviews, researcher observation, and demographic questionnaire. Data were analyzed using the description phenomenological method of analysis. The results of this study uncovered a collective psychological lived experience of martial arts board breaking, which was conveyed by the following eleven key themes: pre/post event analysis, focus, distractions, physical awareness, confidence, Zen state, intensity, relief after event, imagery, self-talk, and, desire to represent Master or self. Furthermore, additional research is necessary on the psychology of competition board breaking, belt-test board breaking, and power breaking. This study may serve to enhance the mental training of martial arts curricula on board breaking.

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Lee, Sharon Yih-Chih. „The career development of Asian American female visual artists“. Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/4869.

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The Asian American population is one of the fastest growing racial groups within the United States, and will soon become a significant proportion of the nations' work force (Census, 2008). It is important for counselors and other helping professional to better understand the needs of this population in order to better prepare them for the nation's workforce. Given the limitations of the current knowledge pertaining to Asian American career development, researchers have called for additional studies examining the career development process for Asian Americans (Flores et al., 2006; Leong & Serifica, 1995). A notable gap in today's Asian American vocational literature is on the career development process for those who pursue underrepresented occupations, such as work in the humanities and arts. Researchers have noted that Asian American vocational research has predominantly focused on occupations in which there are more representation, such as Investigative or Enterprising fields (Escueta & O'brien, 1991), the unique career concerns of specific ethnic groups (Kim, 1993; Yang, 1991), familial involvement in career (Tang, Fouad, & Smith, 2004), or provides a broad conceptualization of career development of Asian Americans (Leong, 1986; Leong, 1991). However, there are no studies that examine the intersection of gender, race, and nontraditional career choices for Asian American women. This is especially true for occupational field that is often ignored in vocational research, such as the Artistic field (Ng, Lee, & Pack, 2007). Little is known regarding the why and how Asian American women choose to go into a field that is nontraditional and in which they are underrepresented. Further examination of this will allow helping professionals to gain a better understand the challenges and resiliency factors that influence Asian American women, especially those who choose to enter difficult field often not well regarded as an ideal career by family or society. The purpose of this study was to investigate the following questions: (1) What are unique aspects of the career development of early career Asian American female visual artists, (2) how do contextual factors in Asian American female visual artists' career development impact both their psychological and vocational well-being, and (3) what are the major supports and barriers for Asian Americans females in pursuing an Artistic career? Utilizing Consensual Qualitative Research (CQR) methodology (Hill, Thompson, & Williams, 1997), Asian American female early career visual artists were recruited, identified, and screened nationally through an online survey. Twelve East (n=10) and Southeast (n=2) Asian American female visual artists between the ages of 21 - 35 were interviewed utilizing a semi-structured interview protocol. Eight domains emerged from the analysis of the results: 1) Description of career path into the visual arts, (4) Ecological factors impacting overall career, (5) Financial influences on the career development, (6) Perceived additional skills and resources needed for career, (2) Influences on art work and artist identity, (3) Individual strengths contributing to career development, (7) Influences of support on career development, (8) Perceived barriers to career development. A detailed summary of these results, implications of these findings and recommendations for clinical work and future research will be provided.
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Krukauskas, Frank Krukauskas. „Using Auditory Feedback to Improve Striking for Mixed Martial Artists“. Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6529.

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The purpose of this study was to evaluate, auditory feedback as a training procedure to increase the effectiveness of throwing a "right cross.” Auditory feedback was evaluated in multiple baselines across behaviors design with 4 mixed martial arts students, two males and two females, 25-54 years old. The percentage of correct steps of the right crosses.” was stable .during baseline for all participants improved substantially following the introduction of the auditory feedback, and maintained at 90 percent or more for all participants during follow-up.
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Gascón, Luis Daniel. „Artists and crooks: A correlational examination of creativity and criminal thinking“. CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3298.

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This study explores some of the possible correlations between creativity and criminal thinking evident in the literature in an attempt to link the two forms of cognition. An understanding of the concept of Malevolent Creativity can serve the purpose of elucidating another component of the criminal personality.
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Donat, Melanie, University of Western Sydney, of Arts Education and Social Sciences College und School of Contemporary Arts. „Fur, pixels, loved ones and other transients“. THESIS_CAESS_CAR_Donat_M.xml, 2004. http://handle.uws.edu.au:8081/1959.7/469.

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Fur, Pixels, Loved Ones and Other Transients is a paper discussing my practice from 2000 to 2003. It is a personal and theoretical exploration of common concepts and theories in reference to my works Fluff Snuffs (2000), Relentless (2001), Trigger Displacement (2002), Bathing in a Warm Glow of Nothing (2003) and Memory Play Back (2003). The effects of Tele-visual and computer mediated images of death and violence within these works are investigated, which lead to an exploration of fear and trauma. This mechanism of mediation is used within the works as a means of exploring the subtleties within the screen-based image that may go unnoticed or seem disconcerting. The role of the soft toy is an important element in these works and this is further explored by referencing the use of the soft toy in works of several other contemporary artists. These works are discussed to further explore the complexity of ideas on death, violence, trauma, memory and fear
Master of Arts (Hons) (Contemporary Arts)
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Abranches, Maria Stella Dunshee de. „"A experiência de psicólogos/artistas"“. Universidade Católica de Pernambuco, 2001. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=79.

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A pluralidade e a complexidade da experiência humana, demandando indagações acerca de articulações possíveis entre a psicologia clínica na contemporaneidade e outros campos do conhecimento, constituem o cenário deste trabalho que busca conhecer e transmitir a experiência de psicólogos/artistas. Partindo da sua própria experiência de cantora e psicóloga clínica, a pesquisadora recorre aos depoimentos de outros psicólogos/artistas para, através deles, investigar algumas articulações possíveis entre esses fazeres. Para alcançar o objetivo proposto, a autora situa a experiência e a sua transmissão, via narrativa, nos trabalhos de Gendlin e Benjamin, a fim de obter o embasamento teórico necessário para validá-las como elemento de produção e transmissão de saber. A seguir, faz um breve relato do papel da narrativa em psicoterapia, na visão pós-moderna apresentada pelos autores Goolishian e Anderson. E, finalmente, após apresentar os depoimentos dos psicólogos/artistas colaboradores, a pesquisadora aprofunda o seu questionamento inicial, correndo ao diálogo entre sua compreensão da experiência dos depoentes e as referências teóricas que lhe auxiliam a encaminhar suas considerações
Human experiences complexity and plurality, which demands questionning on possible articulations of contemporary clinical psychology and other areas of knowledge, builds up this works scenary which aims to get acquainted with and transmit the psychologist/artists experience. Based on her own experience as a singer and as a psychology therapist, the researcer runs over other psychologists/artists narratives to through them investigate some possible articulationns between these two practices. In order to reach the proposed objectives, the author circumscribes both experiencing and transmission, by means of the narratives, in Gendlins and Benjamins works, in search of a theoretical basis needed to validate them as knowledges production and transmission elements. Then she gives a brief description of the role of narratives in psychotherapy according to Goolishians and Andersons postmodern view. Finally, after presenting the psychologists/artistss narratives, she deepens her initial questionning by going through a dialog between her understanding of the research participants experience and the theoretical references which guide her final appreciation
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Bücher zum Thema "Artists' psychology"

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Zara, Christopher. Tortured artists. Avon, Massachusetts: Adams Media, 2012.

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1945-, Halpern Daniel, Hrsg. Writers on artists. San Francisco: North Point Press, 1988.

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Schwartz, Sanford. Artists and writers. New York: Yarrow Press, 1990.

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Smith, Edward W. L. The psychology of artists and the arts. Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers, 2012.

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Carol, Becker, Hrsg. The Subversive imagination: Artists, society, and responsibility. New York: Routledge, 1994.

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B, Franklin Margery, und Kaplan Bernard, Hrsg. Development and the arts: Critical perspectives. Hillsdale, N.J: L. Erlbaum Associates, 1994.

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P, Biller Geraldine, Rodríguez Bélgica 1941-, Sullivan Edward J, Pérez de Mendiola, Marina, 1960- und Milwaukee Art Museum, Hrsg. Latin American women artists =: Artistas latinoamericanas : 1915-1995. Milwaukee, Wis: Milwaukee Art Museum, 1995.

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Small, Jacquelyn. Transformers: The artists of self-creation. New York: Bantam Books, 1992.

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Feldman, Edmund Burke. The artist: A social history. 2. Aufl. Englewood Cliffs, N.J: Prentice Hall, 1995.

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A, King Elaine, Hrsg. Artists observed: Photographs. New York: Abrams, 1986.

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Buchteile zum Thema "Artists' psychology"

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Rens, Fleur van. „The mental health of circus artists“. In Circus Psychology, 17–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003289227-3.

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Watt, Stephen. „Entr’acte at the Theatre: Marriage, Money, and Feeling in Love Among the Artists“. In Bernard Shaw’s Fiction, Material Psychology, and Affect, 135–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71513-1_4.

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Andersen, Mark B. „The "canon" of psychological skills training for enhancing performance.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 11–34. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-001.

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McCann, Sean M. „Emotional intelligence.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 35–56. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-002.

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Gould, Daniel R. „Confidence.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 57–76. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-003.

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Foster, Sandra, Paul J. Lloyd und Sara Kamin. „Mental preparation, memorization, and improvisation.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 77–97. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-004.

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Hays, Kate F. „Performance anxiety.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 101–20. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-005.

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Grand, David J. „Audition anxiety.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 121–37. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-006.

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Mainwaring, Lynda M. „Working with perfection.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 139–59. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-007.

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Balague, Gloria. „Competition.“ In Performance psychology in action: A casebook for working with athletes, performing artists, business leaders, and professionals in high-risk occupations., 161–79. Washington: American Psychological Association, 2009. http://dx.doi.org/10.1037/11876-008.

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Konferenzberichte zum Thema "Artists' psychology"

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Ito, Toshiki. „The Difference of the ‘Regression in the Service of the Ego’ Between Art Students and Professional Artists“. In – The Asian Conference on Psychology & the Behavioral Sciences 202. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2187-4743.2020.3.

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Lorenc, Jan. „Czech Basic Artistic Schools (Bas) In Comparison To Their European Counterparts“. In 8th International Conference on Education and Educational Psychology. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.10.68.

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Silvia Barros De Held, Maria, Carlos Alho und Vanda Matos. „The Process of Creation: Artistic Creation and Creative Processes.“ In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001393.

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This research is built upon the search for the understanding of today's status of the process of creation, and how it has been considered through time, first through an philosophical approach, then through psychological aesthetics and finally, more recently, through psychology. If all construction of reality are built upon the interaction between physical world, the psychological or subjective world and the world of human creation, it seems to be clear that the creative process is, by excellency, a paradigm of the human experimental or experiential phenomena. Assuming a descriptive case study approach, Boa Nova Tea House of Siza Viera is analyzed. In Siza Vieira´s creative process, the drawing constantly validates his work. Architecture balances between art and technique as a creative act resulting from the artist mental reflective and experimental construction.
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PREDOIU, ALEXANDRA, GHEORGHE DINUŢĂ und ANA-MARIA GAVOJDEA. „Spatial orientation and attention at 12 years old artistic gymnasts and handball players“. In Psychology and the realities of the contemporary world. Romanian Society of Experimental Applied Psychology, 2016. http://dx.doi.org/10.15303/rjeap.2016.si1.a12.

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CIOBANU, Claudia Veronica. „The impact of creativity in the formation of artistic-aesthetic culture“. In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v2.24-25-03-2023.p260-264.

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To create generally means to achieve something new in relation to something old, known, common; hence we can realize that this capacity produces the new is called creativity. The term creativity is widely used in psychology. There are psychologists who analyze the concept in a broad sense, so creativity is a specifically human phenomenon, a high form of human activity. Every subject has a creative potential, because every subject has a life experience, working processes, skills, operational structures that it processes and combines in various ways. Others discover in creativity originality, inventiveness, unusual, intelligence or talent. But all people are creative in varying degrees, regardless of intelligence, talent or all the others. This paper aims to define the relationship between the development of creativity as a psychic process and the formation of an artistic aesthetic culture. By inventorying all the theories of creativity and analyzing the creative input into learning, the foundations of the formative program of the experiment were planned. Its conclusions draw guidelines for the formation of artistic-aesthetic culture in primary school students.
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Mendes Monico, Lisete dos Santos. „SPECIALIZED ARTISTIC EDUCATION IN MUSIC: WHAT IS THE INFLUENCE ON ACADEMIC ACHIEVEMENT, CONTROLLING FOR SOCIOECONOMIC STATUS AND INTELLIGENCE?“ In SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.107.

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KARABULUT, Mustafa. „AN INVESTIGATION ON NECIP FAZIL KISAKÜREK'S POEMS WITHIN THE CONTEXT OF PSYCHOANALYTIC THEORY OF LITERATURE“. In 3. International Congress of Language and Literature. Rimar Academy, 2021. http://dx.doi.org/10.47832/lan.con3-5.

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Psychoanalysis is a branch of science that focuses on the subconscious and unconscious aspects of human beings. “When it comes to the human soul, it is seen that almost the entire human ego is based on psychology.” (Emre, 2006: 16). The psychoanalytic literary theory is a theory that tries to reveal the unconscious and subconscious aspects of the artist in general, and is shaped on the theories of Sigmund Freud. This theory has a feature that reflects the bonds between the identity of the artist and his work. “Until Freud, the origin of human behavior was generally associated with physiology. After long studies, Freud reveals that the unconscious is as effective as physiological conditions and disorders on the basis of human behavior. (Cebeci, 2009: 72). Necip Fazıl Kısakürek, one of the important names of Turkish poetry in the Republican period, is generally known for his mystical and metaphysical poems. There are many uses in his poems that are suitable for psychoanalytic analysis. In the poems of Kısakürek, "subconscious and image, rebirth, sense of emptiness, self-complexity, struggle for existence" etc. elements are included. Key words: Necip Fazıl Kısakürek, Literary theory, Psychoanalytic.
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Leslie, Kenneth. „Haidawood: A Social Media Approach to Indigenous Language Revitalization“. In International Association of Cross Cultural Psychology Congress. International Association for Cross-Cultural Psychology, 2016. http://dx.doi.org/10.4087/fghy9004.

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British Columbia is home to 34 different Indigenous languages, most of which are in danger of losing fluency due to the combined effects of introduced diseases and assimilationist Indian Residential Schools. The Haida language, or Xaad Kil (pronounced “haad kill”), is considered critically endangered with only 9 elderly fluent speakers left. Many Haida believe that revitalizing Xaad Kil is important for keeping their culture alive: they see Xaad Kil as a cultural keystone that keeps worldview, artistic expression, food gathering, dances, stories, and songs integrated together as a unified whole. Xaad Kil also helps assert Aboriginal land rights: identification of traditional place names demonstrates use and occupation of lands since time immemorial. Xaad Kil names of medicinal plants and foods also contain important environmental information. Indigenous communities are adopting a range of strategies to revitalize their languages, including: master-apprentice programs, early childhood immersion programs, and technological approaches such as audio databases, language apps, and social media projects like Haidawood. Learning Xaad Kil can be a challenge: there are limited resources and often language learners are overwhelmed with obstacles. Haidawood helps make Haida language learning fun by bringing Haida stories to life using the power of stop motion animation and embracing an “aesthetic of accessibility” that creates beautiful art out of readily available materials, including carved puppet faces and sets made from cardboard. Haidawood seeks to help revitalize the Haida language, facilitate inter-cultural understanding, and inspire other communities to preserve and share their own stories.
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Zlotnikova, Tatyana. „Power in Russia: Modus Vivendi and Artis Imago“. In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Li, Yijin. „SPIRITUAL COMMUNICATION ACROSS TIME AND SPACE — ON THE SUCCESS OF LIAOZHAI STUDY BY V. M. ALEXEYEV“. In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.02.

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Russian sinologist V. M. Alexeyev translated and studied Liaozhai according to the new “artistic requirements” in the Soviet era, that is: 1) the requirement to introduce the real Chinese language and art works to the Russian and Soviet people and show his translation talent; 2) the requirement to adapt to the historical culture and aesthetic psychology of the Russian nation and meet the needs of the Russian people; 3) the requirement to conform to the popular social trend of thought among Russian humanistic intellectuals at the turn of the 19th–20th century, and to introduce Oriental wisdom; 4) the requirement to communicate with Pu Songling, an ancient Chinese writer who has common ground in life experience and social ideal, and to express his inner feelings and resonance. Alexeyev’s spiritual communication with Pu Songling is not only the impetus of his whole life to study Liaozhai, but also the secret of his great success in Liaozhai study.
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Berichte der Organisationen zum Thema "Artists' psychology"

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DMITRIENKO, B. Ch, O. A. KOVALEVA und E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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