3912G-001

Psychology 3912G-001

Psychology and the Arts

If there is a discrepancy between the outline posted below and the outline posted on the OWL course website, the latter shall prevail.

1.0    CALENDAR DESCRIPTION

This course will consider a range of questions relating to art that are of interest to psychologists, organized into broad sections: art and mental illness; philosophical issues; and applied topics. Readings will be drawn from a range of sources, including empirical articles, case studies, reviews and books by eminent thinkers.

 

Anti-requisites: Psychology 3990G if taken in 2013/14 or 2014/15

 

Anti-requisites are courses that overlap sufficiently in content that only one can be taken for credit. So if you take a course that is an anti-requisite to a course previously taken, you will lose credit for the earlier course, regardless of the grade achieved in the most recent course.

 

Prerequisites: Psychology 2820E or both Psychology 2800E and 2810 3 seminar hours, 0.5 course

 

 

Unless you have either the prerequisites for this course or written special permission from your Dean to enroll in it, you may be removed from this course and it will be deleted from your record. This decision may not be appealed. You will receive no adjustment to your fees in the event that you are dropped from a course for failing to have the necessary prerequisites.


2.0    COURSE INFORMATION

Instructor:                                                                    Dr. Patrick Brown

Office and Phone Number:                                   SSC 7328 / Ext. 84680

Office Hours:                                                               Tuesdays 1:30 – 3:30 and by appointment

Email:                                                                              brown5@uwo.ca

 

Teaching Assistant:                                                   Kelly Nisbet

Office:                                                                            TBA

Office Hours:                                                               TBA

Email:                                                                              knisbet2@uwo.ca

 

Time and Location of Classes:                               Thursday 3:30 – 6:30 / SSC 3120


If you or someone you know is experiencing distress, there are several resources here at Western to assist you.  Please visit:  http://www.uwo.ca/uwocom/mentalhealth/ for more information on these resources and on mental health.

Please contact the course instructor if you require material in an alternate format or if you require any other arrangements to make this course more accessible to you. You may also wish to contact Services for Students with Disabilities (SSD) at 519-661-2111 ext 82147 for any specific question regarding an accommodation.

3.0  TEXTBOOK

There is no textbook for this course. Instead, there will be readings from various literatures (see below)

4.0    COURSE OBJECTIVES

This course will consider a range of questions relating to art that are of interest to psychologists, organized into three broad sections: art and brain; philosophical issues as they intersect with psychological concerns; and applied topics. Readings will be drawn from a variety of sources – recent empirical studies; case studies; reviews; and books by eminent thinkers.


   4.1    STUDENT LEARNING OUTCOMES

By the end of this course, the successful student should be able to:

Outcome

Evaluation

Access, interpret, and critically evaluate appropriate research in the psychology of creating and experiencing artistic works

Seminar presentation; essays; final exam

Articulate the concepts and current states of knowledge in relevant natural and social science aspects of the psychology of creating and experiencing artistic works

Seminar presentation; essays; final exam

Evaluate the appropriateness of different methodological approaches to address a specific research question relating to the psychology of creating and experiencing artistic works

Seminar presentation; essays; final exam

Engage in a critical scholarly discussion or debate on a topic related to the psychology of creating and experiencing artistic works

Seminar presentation; essays; final exam

Communicate orally accurately, clearly and logically, using the discourse of the discipline of psychology

Seminar presentation

Communicate in writing accurately, clearly and logically, using the discourse of the discipline of psychology

Essays; final exam

Demonstrate behavior consistent with academic integrity and social responsibility

Seminar presentation review

5.0     EVALUATION


Although the Psychology Department does not require instructors to adjust their course grades to conform to specific targets, the expectation is that course marks will be distributed around the following averages:


70%     1000-level and 2000-level courses
72%     2190-2990 level courses
75%     3000-level courses
80%     4000-level courses
   
The Psychology Department follows the University of Western Ontario grading guidelines, which are as follows (see http://www.uwo.ca/univsec/pdf/academic_policies/general/grades_undergrad.pdf ):

A+  90-100      One could scarcely expect better from a student at this level
A    80-89        Superior work that is clearly above average
B    70-79        Good work, meeting all requirements, and eminently satisfactory
C    60-69        Competent work, meeting requirements
D    50-59        Fair work, minimally acceptable
F    below 50    Fail

Final grades in this course will be based on four components: Component         Weight in final course grade

 

Two essays                                                           15% each = 30% total

Oral presentation                                              25%

Oral presentation review                                  5%

Final exam                                                            40%

 

The first essay will be due on Thursday, February 9th and the second one on Thursday, March 9th. A list of essay topics will be posted on the course Sakai website during the second week of the Winter term. Essays should be approximately 5 pages long (not counting title page or references), roughly 1250 words each, to meet the 2500 word requirement for a one-term essay course. Essays must be uploaded to Turnitin.com through the course Sakai site no later than the day of the submission deadline. Note, however, that if you want the opportunity to revise your paper in response to the Turnitin.com report, you should upload it sooner than the deadline date.

 

Oral presentations will be done in pairs, with two 1.5 hour presentations per day in the later part of the course (that is, two pairs of students will present each day). Each student will also be required to review and evaluate one presentation. Each presentation will be reviewed by two students and presentation grades will be based on the averaged evaluation (though the instructor reserves the right to alter an averaged grade that he considers unfair and to adjudicate between two reviewed grades for a given presentation when those grades are very discrepant).

 

The final exam will be a take-home exam. The exam will present a set of questions, which will be posted on OWL. Students will respond to one question of their choice. Further information about the final exam and what is expected in responses will be given closer to the date the questions are posted


6.0  TEST AND EXAMINATION SCHEDULE

The final exam will be a take-home exam. Questions will be posted on the course OWL site on Thursday, April 6. Exam papers will be due no later than 5:00 pm on Monday, April 24. Late papers will be accepted only by prior arrangement with the instructor.

7.0   CLASS SCHEDULE

January 5 – Introduction to the course January 12 – What is art?

  • De Sousa, R. (2004). Is Art an Adaptation? Prospects for an Evolutionary Perspective on

Beauty. The Journal of Aesthetics and Art Criticism, 62 (2), 109 – 118).

  • Dutton, D. (2005). Aesthetic universals. In B. Gaut and D. Lopes (Eds.) The Routledge

Companion to Aesthetics. London: Routledge, pp. 279 – 291.

 

Other readings, not assigned, but on which the lecture will draw:

  • Bowes, A. & Katz, A. (2015). Metaphor creates intimacy and temporarily enhances theory of

mind. Memory & Cognition, 43, 953 – 963. DOI 10.3758/s13421-015-0508-4

  • Polanyi, M. (1970). What is a painting? The American Scholar, 39 (4), 655 -669
  • Sainani, K.L. (2015). Objective beauty. Interview with David Deutsch. Nature, 528, 516.

 

January 19 – Art and empathy

 

  • Christensen, J.F., Gomila, A., Gaigg, S.B., Sivarajah, N. & Calvo-Merino, B. (2016). Dance expertise modulates behavioral and psychophysiological responses to affective body movement. Journal of Experimental Psychology: Human Perception and Performance, 42 (8), 1139 – 1147. http://dx.doi.org/10.1037/xhp0000176
  • Kidd, D., & Castano, E. (2013). Reading literary fiction improves theory of mind. Science, 342,

377–380.

 

Other readings, not assigned, but on which the lecture will draw:

  • Bloom, P. (2017). Empathy and its discontents. Trends in Cognitive Sciences, 21 (1), 24 – 31.

http://dx.doi.org/10.1016/j.tics.2016.11.004

  • Bowes, A. & Katz, A. (2015). Metaphor creates intimacy and temporarily enhances theory of

mind. Memory & Cognition, 43, 953 – 963. doi 10.3758/s13421-015-0508-4.

  • Vorn, B. (2016). I want to believe—empathy and catharsis in robotic art. In D. Hereth & C.K.

Stelarc (Eds.). Robots and Art - Exploring an Unlikely Symbiosis. Springer.

 

January 26 – Art and the body

  • Freedberg, D. & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience.

Trends in Cognitive Sciences, 11 (5), 197 – 203.

  • Montero, B. (2006). Proprioception as an aesthetic sense. The Journal of Aesthetics and Art

Criticism, 64 (2), 231 – 242


Other readings, not assigned, but on which the lecture will draw:

  • Esrock, E.J. (2003). Touching Art: Intimacy, Embodiment, and the Somatosensory System.

Circulated paper for The Italian Academy for Advanced Studies in America at Columbia

University. (A longer exposition of Esrock’s ideas is available in Esrock, E.J. (2010). Embodying art: The spectator and the inner body. Poetics Today, 31 (2). doi 10.1215/03335372-2009-019.)

  • Gallese, V. & Guerra, M. (2012). Embodying movies: Embodied simulation and film studies.

Cinema: Journal of Philosophy and the Moving Image, 183-210.

  • Wojciehowski, H.C. & Gallese, V. (2011). How stories make us feel: Toward an embodied

narratology. California Italian Studies, 2 (1). http://escholarship.org/uc/item/3jg726c2

 

February 2 – Art and brain damage

  • Liu, A. et al. (2009). A case study of an emerging visual artist with frontotemporal lobar

degeneration and amyotrophic lateral sclerosis. Neurocase, 15(3): 235–247.

doi:10.1080/13554790802633213.

  • van Buren, B., Bromberger, B., Potts, D., Miller, B., & Chatterjee, A. (2013). Changes in

painting styles of two artists with Alzheimer’s disease. Psychology of Aesthetics, Creativity,

and the Arts, 7 (1), 89–94.

 

Other readings, not assigned, but on which the lecture will draw:

  • Chatterjee, A., Bromberger, B., Smith II, W.B., Sternschein, R. and Widick, P. (2011). Artistic

production following brain damage: A study of three artists. LEONARDO, 44 5, 405–410.

  • Graham, D.J., Stockinger, S., & Leder, H. (2013). An island of stability: art images and natural

scenes – but not natural faces – show consistent esthetic response in Alzheimer’s-related

dementia. Frontiers in Psychology, 4, 1 – 8. https://doi.org/10.3389/fpsyg.2013.00107 February 9 – Musicality

  • Clarke, E., DeNora, T. & Vuoskoski, J. (2015). Music, empathy and cultural understanding.

Physics of Life Reviews, 15, 61 – 88.

  • Malloch, S. & Trevarthen, C. (2010). Musicality: Communicating the vitality and interests of

life. In Malloch, S. & Trevarthen, C. (Eds.) Communicative Musicality: Exploring the Basis of

Human Companionship. Oxford University Press, pp. 1-11.

 

Other readings, not assigned, but on which the lecture will draw:

  • Avanzini, G. (2012). Neuroscience and music. Rendiconti Lincei, 23, 295-304.
  • Trevarthen, C. (1999-2000). Musicality and the intrinsic motive pulse. Musicae Scientiae

Special Issue, 3, 155-215.

 

February 16 – Narrative

 

  • Irwin, W. & Johnson, D.K. (2014). What would Dutton say about the paradox of fiction?

Philosophy and Literature, 38, 1A, A144-A147

  • Young, K. & Saver, J.L. (2001). The neurology of narrative. SubStance, 20 (1&2), 72-84.

Other readings, not assigned, but on which the lecture will draw:

  • Brockman, R. (2013). Only stories matter: The psychology and neurobiology of story.

American Imago, 70 (3), 445-460.

  • Delafield-Butt, J.T. & Trevarthen C. (2015). The ontogenesis of narrative: from moving to

meaning. Frontiers in Psychology, 6, Aarticle 1157.

 

February 23 – Reading Week – no class

 

March 2 (if a further lecture is needed) – Art and intention

  • Farrelly-Jackson, S. (1997). On art and Intention. The Heythrop Journal, 38 (2), 172–179.
  • Wegner, D. (2003). The mind's best trick: how we experience conscious will. Trends in

Cognitive Sciences, 7 (2), 65 – 69.

 

Subsequent weeks will feature student presentations on topics selected from a set presented in a separate document.

8.0     STATEMENT ON ACADEMIC OFFENCES

Students are responsible for understanding the nature and avoiding the occurrence of plagiarism and other scholastic offenses. Plagiarism and cheating are considered very serious offenses because they undermine the integrity of research and education. Actions constituting a scholastic offense are described at the following link:  http://www.uwo.ca/univsec/pdf/academic_policies/appeals/scholastic_discipline_undergrad.pdf

As of Sept. 1, 2009, the Department of Psychology will take the following steps to detect scholastic offenses. All multiple-choice tests and exams will be checked for similarities in the pattern of responses using reliable software, and records will be made of student seating locations in all tests and exams. All written assignments will be submitted to TurnItIn, a service designed to detect and deter plagiarism by comparing written material to over 5 billion pages of content located on the Internet or in TurnItIn’s databases. All papers submitted for such checking will be included as source documents in the reference database for the purpose of detecting plagiarism of papers subsequently submitted to the system. Use of the service is subject to the licensing agreement, currently between Western and Turnitin.com http://www.turnitin.com

Possible penalties for a scholastic offense include failure of the assignment, failure of the course, suspension from the University, and expulsion from the University.



9.0    POLICY ON ACCOMMODATION FOR MEDICAL ILLNESS

Western’s policy on Accommodation for Medical Illness can be found at:
http://www.westerncalendar.uwo.ca/2016/pg117.html

Students must see the Academic Counsellor and submit all required documentation in order to be approved for certain accommodation:
http://counselling.ssc.uwo.ca/procedures/medical_accommodation.html


10.0        OTHER INFORMATION

Office of the Registrar web site:  http://registrar.uwo.ca

Student Development Services web site: http://www.sdc.uwo.ca

Please see the Psychology Undergraduate web site for information on the following:

    http://psychology.uwo.ca/undergraduate/student_responsibilities/index.html

- Policy on Cheating and Academic Misconduct
- Procedures for Appealing Academic Evaluations
- Policy on Attendance
- Policy Regarding Makeup Exams and Extensions of Deadlines
- Policy for Assignments
- Short Absences
- Extended Absences
- Documentation
- Academic Concerns
- 2016 Calendar References

No electronic devices, including cell phones, will be allowed during exams.