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The article presents suggestions for more accurate measurement of some figure drawing variables. Suggestions are offered to increase the precision and reliability of scoring certain traditional drawing variables. If drawings done along different axes are to be compared for location, they may be more accurately scored using a procedure. Vertical imbalance may easily be scored with an inexpensive protractor. The score might be the angle the center of the figure makes with the bottom edge of the paper. The angle can be read from the protractor in degrees.

The major aim of this paper is to condense and make more widely available some of the unpublished research findings in South African social science. This survey is by no means exhaustive, as it deliberately excludes a number of fields, such as purely demographic, anthropological, economic, historical, or theoretical studies. Works having a direct or indirect bearing on race relations constitute the main focus of the present paper, which thus compliments a recent survey of published South African literature. Due to the nature of South African society, social science research in that country is strongly problem-oriented. As a society in an acute state of tension and conflict, South Africa constitutes an ideal laboratory. At the same time, however, research suffers from a number of handicaps. The universities have very limited financial resources and what money is available is devoted to undergraduate teaching rather than research. Consequently the number of graduate students, many of whom are on the teaching stall, is small. Furthermore, the government, through its apartheid regulations, greatly hinders research, particularly South Africans. Recent years have witnessed an exodus of academic personnel, thereby causing a rapid deterioration in the quality of the English-speaking universities.

The thesis of this paper is that there are two styles of creativity; one a measured, problem-solving approach to the development of new knowledge, and the other, an emotional, and comparatively uncontrolled, free expression. This duality has a long tradition, for example, the distinction made in the 18th Century between Enlightenment (or Classicism) and Romanticism, in the 19th Century, and in the zone between the "two cultures," scientific and literary. This paper investigates whether corresponding styles of creativity can be discovered. A study was reported in which two types of behavior appeared a permissive, expressive type, and a controlled, coping type. Both of these correlated positively with self- reported creativity. A second study contrasted the correlates of originality on tests of divergent thinking with originality on projective tests. Two clusters emerged, one representing competent, stable, resourceful personalities who scored high on divergent thinking tests of originality, the other representing impulsive, emotionally expressive, imaginative persons who scored high on projective test originality. It was concluded that there are two creativity styles corresponding to the two types of cognitive process, and these styles were labeled "cold" creativity and "hot" creativity. Both styles play a part, in varying proportions, in any creativity process Performance on the divergent thinking tests of originality is more closely related to cold than hot creativity and, therefore, the distinction does not correspond with that between convergent and divergent thinking. Nor does it correspond with differences between scientific and artistic interests and creativity.

SUMMARY It was at one time believed that St. Thomas Aquinas meant by the 'just price' a normal price dependent upon production costs rather than a fluctuating market price. This view has recently been challenged and it is now argued that the just price was the going market price. In one instance an attempt has been made to reconcile apparently divergent statements by Aquinas into a consistent whole by suggesting that the market price was envisaged as oscillating around costs in the neo-classical manner. In this paper we shall argue that the evidence suggests that the just price was related to production costs within the medieval context of social status. On the other hand, it is also clear that at times the just price was considered to be the market price. Both versions are to be found depending upon the problem at hand; attempts to discern a single critereon of justice, even in the works of one man, may be misleading. We shall also argue that there is little evidence to show that Aquinas related the market price to production costs in the neoclassical fashion. [ABSTRACT FROM AUTHOR]

This article focuses on human figure drawings. In this study a set of figure-drawing variables with some established validity as indices of body-image and self-regard was assessed as a predictor of a set of measures that represent the size of the figure drawn. The complex interactions between a sample of behavioral referents of personality were examined. There is evidence that the female figure drawings of women represent their own body-image. A comparison also was made of the drawings of women whose bodies had changed recently, in this case during pregnancy, with those whose bodies had not changed.

From data collected in one of several experiments carried out between 1936 and 1940 at the Cleveland Museum of Art for the purpose of investigating some aspects of children's art ability, 10 characteristics out of a large number of observed and itemized qualities in color drawings were selected: Representation, Color Use, Grouping, Intentional Asymmetry, Indefinite Shapes, Resemblance to Style, Motion, Use of Medium, Area Treatment, and Line Treatment. Each of these was divided into two categories: "Indifferent" and "Remarkable." These 10 dichotomous variables were then correlated with one another over all Ss (highest number 1011). This correlation matrix was factored, and three factors were retained for rotation to an interpretable solution. Factor I' was chosen, deliberately, to represent Age (chronological). Of the two other factors, which may be interpreted as nondevelopmental components (i.e., independent of chronological age), one emerged as a Style factor, quite closely related also to Shape and Color Use; the other was identified as representation of Motion, strongly sustained by the characteristics of planned Asymmetry and Grouping. The remaining four characteristics contribute in varying degrees to both of these factors. [ABSTRACT FROM AUTHOR]

Focuses on the principles underlying creative formulation and understanding in the U.S. Comparison of the importance of the principle of understanding than to the beauty of the form; Consideration of the accent of psychic engagement; Lack of description exists n analytical literature; Disclosure of the element of personality.

It is common knowledge that art wears many masks and often far less pleasingly. Art criticism, despite the protests of a few art and literary critics, is an ancillary activity to the artistically creative activity. Such an observation follows only the dictates of common sense. There was no art criticism, of any kind, before Plato and Aristotle. However, art itself has flourished, in more or less conscious form, since the Aurignacian-Perigordian period. To indicate that art established itself as a mode of relating to the world prior to philosophy is not to make value judgments as to the relative worth of art versus art criticism. Because existent, both are evidently necessary activities of the human spirit.

The article discusses ego defense and aesthetic distortion. The "arousal-control" hypothesis of aesthetic representation states that the greater the arousal value of an object, the greater the degree of disguise required before a representation of the object can be called aesthetic. Four studies were conducted to find the personality correlates of subjects who by their behavior support the hypothesis. A strong experimenter effect was discovered in two male-run studies, supporters of the hypothesis were sensitizers, while in the two female-run studies, supporters were repressors. Evidence suggests that the differences may be attributed to the degree of homosexual anxiety evoked in the subjects. A product-moment correlation is then calculated for each subject across the ten stimuli, between the arousal values and the degrees of distortion found most aesthetic, this correlation is positive when the subject chooses greater distortions for the more arousing stimuli.

The article focuses on mobilization of inhibitions and the enjoyment of aggressive humor. Internalized prohibitions against the free expression of certain needs, motives, and impulses have long been assigned a central role in the dynamics of humor by psychoanalytic theorists. In the study reported here, some notions about the role of such inhibitions in the appreciation of aggressive humor were subjected to experimental investigation. According to sociologist S. Freud, aggressive humor can be regarded as one form of tendentious humor that is jokes, which serve some sexual or aggressive purpose. While in all forms of humor some of the pleasure is derived from the mental processes involved in tendentious humor the expression and partial gratification of impulses which are barred from more direct expression provide a supplementary source of pleasure. Freud proposed that aggressive or hostile humor is a veiled form of attack, which satisfies an aggressive motive of its author. Cartoons, jokes, and anecdotes, which derogate an object or emphasize themes of its destruction or suffering all fall under this rubric.

The present study aims to explore some of the affective factors that impel human beings to transform. There are, of course, perceptual and cognitive factors that seemingly not only channel the direction in which transformation might take place but also provide the original motives for transforming, however, this study explores only factors which might broadly be labeled affective. Certain estheticians and psychoanalytical theorists have proposed that works of visual art satisfy both by their form, and by their subject matter. These two satisfactions moreover are related. Of the theorists who stress that satisfaction from viewing esthetic objects is at least of this twofold nature, psychoanalysts are the more likely to emphasize the importance of subject matter, and moreover, to see "form" as being at the service of the more primary satisfactions deriving from content. When the subject matter might in real life arouse the censorship of the superego, one of the functions of transformation is to make the subject acceptable.

Many hypotheses about esthetics, whether stated in philosophical or psychological terms, would suggest that esthetic judgment should be related to other personality characteristics. Observational test of these hypotheses should make an important contribution to scientific study of esthetic value. It is hard to imagine a plausible explanation of variation in esthetic judgment which would not lead one to expect that esthetic judgment would be positively correlated with amount of backs ground in art. The principal reason for measuring background in art, therefore, is to permit statistical control of it. Esthetic judgment is very substantially correlated with amount of formal education in art and with amount of experience look at art in galleries, books, and magazines. It is significantly correlated, but not very highly, with pursuit of art-related hobbies such as sketching, sculpturing, or photography with some art-related interest, and with family attitude toward art. The multiple correlation of esthetic judgment with all four background variables together is +59.

The article presents related to creativity motive. Of primary interest in the present investigation is the Revised Art Scale (RA) which was derived by George S. Welsh from the earlier Barron-Welsh Art Scale (BW). The BW scale was derived by comparing the "Like-Don't like" response frequencies of 37 artists and art students with those of 150 "people in general." Three areas of investigation provided the point of departure for the present study, positive correlations between RA or BW score and judged creativity, the relative position of several groups on RA or BW, and personality descriptions of Ss placing at the extremes on the art scales in an attempt to explain in a tentative way these mutually supporting results, a construct of creativity motivation is proposed. This refers to the tendency for individuals to differ in the degree to which they attempt to experience their fullest perceptual, cognitive, and expressive potentials in their interaction with their environment it is felt that the attempt to realize one's potentials more. The following is a brief attempt to relate the hypothesized construct to the data summarized above. One difference between extreme groups on the art scales seemed to be the degree to which they strive to express themselves in their interaction with their environment.

In psychological research on aesthetics, people have often been asked to rate or rank a set of stimuli according to personal liking. A set of color patches may be presented, for example, and the subject was asked to rank them in order of preference or the same may be done with a set of odorants, or with a set of paintings or other works of art. When this is done, there always seems to be some tendency toward agreement among different persons in their order of preference. It has been frequently taken to represent an ordering of the stimuli according to their relative aesthetic value. Sometimes this suggestion has been put forth simply as a tentative operational definition of aesthetic value, sometimes it has been accompanied by the assertion of a testable relation to some other criterion of aesthetic value. An argument presented in an effort to make such a definition or assertion reasonable is that the idiosyncratic preferences of different people will cancel each other out, leaving only the consistent, panhuman regularities of aesthetic appeal as a basis for agreement in preference.

The article analyses selected evidence on the relationship between economic conditions and art content in a wide range of cultures. A continuation of the inquiry into the nature of the relationship between economic processes and art trends is of interest both to the sociologist concerned with the social functions of art and the economist interested in the cultural consequences of economic developments. It also provides a partial test of the Marxist conception of art as an element of the cultural superstructure determined, in the long run, by the presumably more basic substructure of productive forces and relations of production. Specifically economic content seems to have been generally a minor category in visual art. This would imply relative insignificance of economic conditions as a determinant of art content. However, economic developments are also indirectly reflected in art content. Thus, using categories of content that are not specifically linked with economic factors, sociologist Piritim A. Sorokin has demonstrated that animal motifs decline and still-life paintings increase in frequency with the development of an urban-commercial economy.

Geologists increasingly concerned with detailed laboratory analyses at times overlook space-age techniques that promise the collection of valuable sedimentological data. Orbital remote sensing, and particularly space photography, can provide synoptic environmental data for geoscientists including those familiar with applying aerial photography to the analysis of sedimentary environments. Color space photographs obtained incident to the Gemini Program provide unique tools for analyzing sedimentary environments and processes and provide data that cannot be duplicated by conventional aerial photographic techniques. The principal advantages of orbital geoscience data collection include frequency of coverage leading to environmental analysis within the full spectrum of seasonal contrasts, and opportunities for environmental syntheses by synoptic observations. Gemini space photography is an available source of semi-quantitative data concerning changing environmental phenomena and mechanisms of sediment distribution. It also enables the survey and inventory of global sedimentary landforms. With the application of advanced sensors, increased system resolution, and repetitious photographic coverage, speedier and more reliable quantitative sedimentological analyses can be performed. [ABSTRACT FROM AUTHOR]

This article presents books. Some of them are, "The Collective Dream in Art," by W. Abell, "Communities and Their Development," by T.R. Batten, "Social Change in the South Pacific," by E. Beaglehole, "Studies in Economic Development," by A. Bonne, "Schism and Continuity in an African Society," by V.W. Turner, "The Feeling of Superiority and Anxiety-Superior," by E.L. Remits, "Some Notes on Definitions in Empirical Science," by T.T. Segerstedt, "Some Applications of Behavioral Research," by R. Linkert and "Human and Social Impact of Technological Change in Pakistan," by A.F.A. Husain.