"And I'm in another world". A qualitative examination of the experience of participating in creative arts groups in Palestine.

Background: We examine the experience of participating in creative arts groups for Palestinians living under the shadow of military conflict.Methods: 14 men and women aged 17-50 were recruited from community creative arts groups to participate in one of three semi-structured group interviews. Interviews explored participants' perceptions of the creative arts groups, including how they came to participate in the group and how they felt about their involvement.Results: An inductive thematic analysis identified three central themes: "An emptying", "Growth in the face of challenge", and "A rare freedom". The themes capture the extreme challenges participants faced and the protective effects of the creative arts groups on wellbeing. Participating in creative arts activities, such as writing, drawing, and music, encourages self-expression and release, personal exploration and escapism.Conclusions: In the face of traumatic experiences, restrictions, and poverty associated with living in an occupied land, creative arts groups can be liberating and support wellbeing.

Revisiting Rossion and Pourtois with new ratings for automated complexity, familiarity, beauty, and encounter.

Differences between norm ratings collected when participants are asked to consider more than one picture characteristic are contrasted with the traditional methodological approaches of collecting ratings separately for image constructs. We present data that suggest that reporting normative data, based on methodological procedures that ask participants to consider multiple image constructs simultaneously, could potentially confounded norm data. We provide data for two new image constructs, beauty and the extent to which participants encountered the stimuli in their everyday lives. Analysis of this data suggests that familiarity and encounter are tapping different image constructs. The extent to which an observer encounters an object predicts human judgments of visual complexity. Encountering an image was also found to be an important predictor of beauty, but familiarity with that image was not. Taken together, these results suggest that continuing to collect complexity measures from human judgments is a pointless exercise. Automated measures are more reliable and valid measures, which are demonstrated here as predicting human preferences.

What paint can tell us: A fractal analysis of neurological changes in seven artists.

OBJECTIVE: The notion that artistic capability increases with dementia is both novel and largely unsupported by available literature. Recent research has suggested an emergence of artistic capabilities to be a by-product of involuntary behaviour seen with dementia, as opposed to a progression in original thinking (de Souza, et al., 2010). A far more complementary explanation comes from Hannemann (2006), who suggests that art offers an outlet for dementia patients to refine and sharpen their cognitive abilities. As dementia severely impedes linguistic skills, non-verbal therapeutic methods such as painting can permit dementia patients to express themselves in a way not possible verbally. Fractal analysis has been used to determine the authenticity of major works of art. Taylor et al., (1999) found that through a fractal analysis of Jackson Pollock's paintings it was possible to distinguish authentic works from a large collection of fakes, demonstrating that when artists paint they instill within their work their own pattern of unique fractal behaviour. Can age-indexed variations in the fractal dimension of the works of artists anticipate specific cognitive deteriorations? METHOD: To answer this question we analysed age-related variations in the fractal dimension of a large corpus of digital images (n = 2092) of work created by seven notable artists who experienced both normal ageing and neurodegenerative disorders. RESULTS: The results of our analysis showed that patterns of change in the fractal dimension of the paintings differentiated artists who suffered neurological deterioration from those of normal aging controls. CONCLUSIONS: These findings are of importance for two reasons. Our work adds to studies that demonstrate that fractal analysis has the potential to determine the provenance of paintings. Secondly, our work suggests that may be possible to identify a-typical changes in the structure of an artist's work; changes that may be early indicators of the onset of neurological deterioration. (PsycINFO Database Record

Confounds in pictorial sets: the role of complexity and familiarity in basic-level picture processing.

Complexity is conventionally defined as the level of detail or intricacy contained within a picture. The study of complexity has received relatively little attention-in part, because of the absence of an acceptable metric. Traditionally, normative ratings of complexity have been based on human judgments. However, this study demonstrates that published norms for visual complexity are biased. Familiarity and learning influence the subjective complexity scores for nonsense shapes, with a significant training x familiarity interaction [F(1,52) = 17.53, p < .05]. Several image-processing techniques were explored as alternative measures of picture and image complexity. A perimeter detection measure correlates strongly with human judgments of the complexity of line drawings of real-world objects and nonsense shapes and captures some of the processes important in judgments of subjective complexity, while removing the bias due to familiarity effects.

Measuring icon complexity: an automated analysis.

Measures of icon designs rely heavily on surveys of the perceptions of population samples. Thus, measuring the extent to which changes in the structure of an icon will alter its perceived complexity can be costly and slow. An automated system capable of producing reliable estimates of perceived complexity could reduce development costs and time. Measures of icon complexity developed by Garcia, Badre, and Stasko (1994) and McDougall, Curry, and de Bruijn (1999) were correlated with six icon properties measured using Matlab (MathWorks, 2001) software, which uses image-processing techniques to measure icon properties. The six icon properties measured were icon foreground, the number of objects in an icon, the number of holes in those objects, and two calculations of icon edges and homogeneity in icon structure. The strongest correlates with human judgments of perceived icon complexity (McDougall et al., 1999) were structural variability (r(s) = .65) and edge information (r(s) = .64).