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Art and science often face each other as antipodes in the academic world. They differ fundamentally in their methodical approach. Artistic work aims at the precise analysis and understanding of subjective thoughts and feelings. In contrast, science is theory-driven and focused on objective findings and generalizable results. This archive was created to bring both into discourse.
It includes:
- A description of a an artistic-research process that explored the understanding of ten emotions (Zeißig, A. (2018). The Creative Act as a Mode of Research: Ten Emotions - Ten Films. Weinböhla: edition neuhaus. http://dx.doi.org/10.23668/psycharchives.4852).
- A database of ten developed videos exploring the emotions of boredom, revulsion, sadness, pain, fear, haste, aggression, comfort, joy and equanimity (Zeißig, A. (2018). Database of Ten Emotions - Ten Films. Weinböhla: edition neuhaus. http://dx.doi.org/10.23668/psycharchives.4851).
- The result of a first empirical study to investigate the induction of intended emotions (Zeißig, A. (2019-07-17). Ten Emotions - Ten Films [Poster presentation]. International Society for Research on Emotion Conference, University of Amsterdam. PsychArchives. http://dx.doi.org/10.23668/psycharchives.4853).
The project is looking for interested researchers and collaborations to further test the videos. Since the videos are language-free and free of culture or time specific elements, narration or dramaturgy it would be interesting to cooperate transnationally and international to discuss the development of culture-free emotion induction methods.
This is a secondary publication of: Zeißig, A. (2018). The Creative Act as a Mode of Research: Ten Emotion - Ten Films. Weinböhla: edition neuhaus. (Book with DVD). More information on the author can be found under: http://www.ankezeissig.de/ and https://www.b-tu.de/fg-paedagogische-psychologie/team/anke-zeissig.
Hate speech is unequivocally seen as harmful to individuals and communities (United Nations, 2019), but little is yet known about the current state of research on the frequency of hate speech among children and adolescents. Evidence suggests that definitional ambiguities of hate speech exist in academic research (e.g., Brown, 2017). But without a precise theoretical definition of hate speech, standardized assessment methods and the ability to soundly differentiate it from related phenomena, empirical research may lack validity and comparability. For research on children and adolescents in particular, hate speech needs to be differentiated from bullying (e.g., Lehmann, 2019). In a systematic review, we thus identified and systematized empirical studies on hate speech.
Little is known about the current state of research on the involvement of young people in hate speech. Thus, this systematic review presents findings on a) the prevalence of hate speech among children and adolescents and on hate speech definitions that guide prevalence assessments for this population; and b) the theoretical and empirical overlap of hate speech with related concepts. This review was guided by the Cochrane approach. To be included, publications were required to deal with real-life experiences of hate speech, to provide empirical data on prevalence for samples aged 5 to 21 years and they had to be published in academic formats. Included publications were full-text coded using two raters (κ = .80) and their quality was assessed. The string-guided electronic search (ERIC, SocInfo, Psycinfo, Psyndex) yielded 1,850 publications. Eighteen publications based on 10 studies met the inclusion criteria and their findings were systematized. Twelve publications were of medium quality due to minor deficiencies in their theoretical or methodological foundations. All studies used samples of adolescents and none of younger children. Nine out of 10 studies applied quantitative methodologies. Eighteen publications based on 10 studies were included. Results showed that frequencies for hate speech exposure were higher than those related to victimization and perpetration. Definitions of hate speech and assessment instruments were heterogeneous. Empirical evidence for an often theorized overlap between hate speech and bullying was found. The paper concludes by presenting a definition of hate speech, including implications for practice, policy, and research.
Während sich erste Qualitätskriterien für die künstlerische Forschung etablieren und begonnen wird, die Ergebnisse des hochsensiblen Blindgangs der künstlerischen Suche nach Erkenntnis zu evaluieren, wirft die Replikationskrise der Psychologie einen neuen Diskurs um die Notwendigkeit der Einbeziehung idiosynkratischer Zugänge in die nomothetische Forschung auf – das Bild eines antipodischen Verhältnisses der Kunst zur Wissenschaft, scheint sich aktuell zu verändern. Dadurch kann es möglich werden, disziplinäre Barrieren zu überwinden und die Qualitäten unterschiedlicher Wissenszugänge und Forschungsmethodiken zu erkennen. Es wird untersucht, ob Kunst, verstanden als Prozess der Interaktion, von introspektiver Wahrnehmung und Materialisierung in einer ästhetischen Form, die in diesem Prozess erarbeitete Erkenntnis wissenschaftlich überprüfbar sedimentiert. Dafür werden die Ergebnisse eines künstlerischen Prozesses zur Erforschung verschiedener Emotionen, zum Beispiel Freude, Angst, Langeweile, Traurigkeit und Aggression, auf den Prüfstand eines empirischen psychologischen Experimentes gestellt. Es wird der Frage nachgegangen, ob Videofilme als Ergebnis künstlerischer Forschung die dabei erarbeiteten Erkenntnisse in einer vom Betrachter rezipierbaren und wissenschaftlich messbaren Weise beinhalten. In einem ersten empirischen Experiment (N = 124) wurden drei künstlerisch erarbeitete Videos, die sich dem Verstehen von Langeweile, Freude und Gleichmut widmeten, untersucht. Es wurde überprüft, ob diese Videos die jeweilige Emotion bei den Rezipienten auslösen. Die Filme Langeweile und Freude induzierten langweilige und erfreute Stimmungen bei den meisten der Proband*innen, der Film Gleichmut löste verschiedene Stimmungen aus. In einem Live-Experiment (N = 13) während der 4. Interdisziplinären Graduiertenkonferenz wurden nun die Filme Gleichmut und Langeweile erneut überprüft und die Teilnehmenden der Konferenz konnten dabei das Forschungsprojekt aus Proband*innen-Perspektive kennenlernen. Es entstand durch beide Videos eine Veränderung der Stimmung der Proband*innen. Allerdings kam es bei den Teilnehmenden nicht zur Induktion der jeweiligen spezifischen emotionalen Zustände. Das Potential von Kooperationen zwischen Wissenschaft und Kunst für die Weiterentwicklung und Verbesserung von Forschungsmethoden sollte in weiteren Diskursen und Untersuchungen ausgelotet werden.
Bored children begin to draw, do crafts, to fidget - or they do something bad. Others fall silent, withdraw, or become lethargic. Research on school-related boredom has focused primarily on the negative consequences of boredom, such as decreased cognitive performance, motivation or attentativeness, or disruptiveness. These negative aspects of boredom can be contrasted by the notion that boredom can promote creative performance. This paper reflects on boredom's creative and suppressive consequences as an interplay of personality traits and behavioral possibilities in school situations, on the one hand, and as an interplay of situational experiences with constituent developmental processes on the other. It is proposed that boredom is a gauge of the learner's resonance with school content, learning and/or developmental relationships. Boredom indicates a psychological need and its desideratum. Thus, both creative and suppressive potentials are inherent in boredom.
Assumptions around the association between boredom and creativity are contentious. Although studies suggest positive effects of boredom, it is also considered a negative predictor of creativity. Researchers also assume that creativity reduces boredom, but boredom can also occur during creative tasks. In this review, we identify and systematise the empirical evidence available to date on the association between creativity and boredom in educational contexts. The string‐guided electronic search yielded 2849 publications. Nineteen publications based on 27 empirical studies met the inclusion criteria. Two reviewers extracted definitions, theories, methods, operationalisations, measurement instruments, and outcomes from the studies using a coding scheme. We identified a range of different theoretical and methodological approaches. The largest cache of empirical evidence was obtained from experimental and quasi‐experimental studies (five positive associations, four negative, two contradictory, and three insignificant results). Correlation studies identified three negative, one contradictory, and seven insignificant correlations between boredom and creativity. In addition, two studies with exploratory, statistically not relevant results contributed to the body of research. The results from the identified and evaluated studies argue both for and against the sensitivity of creative processes in relation to boredom—but a clear causal, positive or negative effect of boredom on creativity is not currently supported by the empirical evidence available. Previous research has also not yet demonstrated an apparent effect of creative states or traits on academic boredom. Future research should aim to explore under what circumstances different relationships between boredom and creativity can be observed and reliably replicated.
We aim to extend the body of research on boredom as a potentially creativity-enhancing state. Therefore, 124 students were assigned to one of five 6-minute interventions (boredom-discomfort, boredom-equanimity, boredom-continuation, joy, and concentration) and the effects on figural as well as verbal fluency and diversity as measures of creativity were examined. It was verified whether the emotional state changed during the intervention. In addition, the emotional dimensions, valence, arousal, and alertness were controlled before and after the test.Boredom-discomfort, joy, and concentration altered the emotion experienced during the intervention in the intended way. The boredom-equanimity and boredom-continuation groups served as control conditions for various boredom states, and less boredom resulted for subjects in these groups. Figural and verbal measures of creativity were differently influenced by the interventions. For verbal fluency, we obtained a significant interaction between time and group, in particular, the performance differed between the intervention with either concentration, or joy. Verbal creativity decreased after intervention in all groups, most for joy and boredom-discomfort groups and least for concentration. In contrast, figural performance increased in four groups, most for boredom-discomfort but not for concentration. Subsequent analyses revealed significant interaction effects between time and group with respect to both verbal and figural measures of creativity. The interventions had not only short-term effects on subjects' emotions but also, in some cases, a significant longer-term impact on emotion dimensions at the end of the study.After discussing methodological aspects, conclusions are drawn for further research approaches.