Found 1140 Hypotheses across 114 Pages (0.004 seconds)
  1. Reduced curvilinearity and increased diagonality will be seen as more bad, more powerful, and/or more active (96).Aronoff, Joel - How we recognize angry and happy emotion in people, places, and things, 2006 - 2 Variables

    This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

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  2. In 17th-century Dutch art, threatening configurations will take meaning from diagonal and angular forms and happy and intimate configurations take meaning from curved forms (99).Aronoff, Joel - How we recognize angry and happy emotion in people, places, and things, 2006 - 2 Variables

    This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

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  3. Movements in classical ballet will use angular and diagonal spatial forms to convey threat and use rounded spatial forms to convey affection and warmth (93).Aronoff, Joel - How we recognize angry and happy emotion in people, places, and things, 2006 - 2 Variables

    This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

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  4. "Diagonal lines and acute angles [will] elicit subjective emotional responses associated with threat, in comparison to the more positive emotional response evoked by curved or straight lines " (89).Aronoff, Joel - How we recognize angry and happy emotion in people, places, and things, 2006 - 2 Variables

    This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

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  5. "Within a diverse set of cultures, masks used to convey threat would more frequently use the components of (previously identified) threatening facial displays than would masks used to convey positive emotions" (85).Aronoff, Joel - How we recognize angry and happy emotion in people, places, and things, 2006 - 1 Variables

    This article presents a series of tests done to determine which geometric patterns in the features of masks, classical ballet, and 17th-century Dutch art evoke emotions of threat. Results suggest that diagonal and angular forms evoke emotions of threat.

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  6. ". . . there would be more curved [and complex] designs in polygynous societies and more straight-line designs in monogamous societies" (86)Fischer, J. L. - Art styles as cultural cognitive maps, 1961 - 3 Variables

    This paper tests theory suggesting that art is a form of expressive cultures which ultimately is shaped by the social conditions under which people in a society live. Focuses on social hierarchy and its relationship to art styles.

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  7. "Symmetrical design (a special case of repetition) should characterize egalitarian societies; asymmetrical design should characterize hierarchical societies" (81)Fischer, J. L. - Art styles as cultural cognitive maps, 1961 - 2 Variables

    This paper tests theory suggesting that art is a form of expressive cultures which ultimately is shaped by the social conditions under which people in a society live. Focuses on social hierarchy and its relationship to art styles.

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  8. "Figures without enclosures should characterize egalitarian societies; enclosed figures should characterize hierarchical societies" (81)Fischer, J. L. - Art styles as cultural cognitive maps, 1961 - 2 Variables

    This paper tests theory suggesting that art is a form of expressive cultures which ultimately is shaped by the social conditions under which people in a society live. Focuses on social hierarchy and its relationship to art styles.

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  9. "Complex, nonrepetitive design, representing a hierarchical society, should be associated with societies which favor male solidarity in residence" (84)Fischer, J. L. - Art styles as cultural cognitive maps, 1961 - 2 Variables

    This paper tests theory suggesting that art is a form of expressive cultures which ultimately is shaped by the social conditions under which people in a society live. Focuses on social hierarchy and its relationship to art styles.

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  10. Sexual anxiety is associated with straight line dominant art (38)Gray, J. Patrick - Male security and art style in traditional societies, 1981 - 2 Variables

    This paper suggests that Fischer's (1961) "male security" variable is not adequate. Cross-cultural analyses suggest that male security in the realm of father-son interaction may be more important than male security in the realm of heterosexual interaction in explaining the line shape preference of a society.

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