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  3. Creativity. Theories – Research – Applications
  4. Creativity. Theories – Research – Applications, 2019, Vol. 6, Issue 2

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    • Proszę używać tego identyfikatora do cytowań lub wstaw link do tej pozycji: http://hdl.handle.net/11320/19970
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    Pole DCWartośćJęzyk
    dc.contributor.authorSzubielska, Magdalena-
    dc.contributor.authorFudali-Czyż, Agnieszka-
    dc.date.accessioned2026-04-01T08:58:55Z-
    dc.date.available2026-04-01T08:58:55Z-
    dc.date.issued2019-
    dc.identifier.citationCreativity. Theories – Research – Applications, Vol. 6, Issue 2, 2019, pp. 182-197pl
    dc.identifier.issn2354-0036-
    dc.identifier.urihttp://hdl.handle.net/11320/19970-
    dc.descriptionThe authors would like to thank the contemporary art gallery Galeria Labirynt in Lublin for their cooperation and Aleksandra Gembka and Mateusz Knap for data collection.pl
    dc.description.abstractObjective: In our pilot study, we tested to what extent subjective understanding and aesthetic appreciation of embossed drawings were dependent on the information that their creators were people with disability. Method: Our research was carried out in a gallery of contemporary art with 30 adults who were non-experts in the field of visual arts. Subjects were asked to view the current exhibition and then evaluate their subjective understanding and aesthetic appreciation (liking and interest) of 12 embossed drawings on seven-point scales. Results: Participants who were aware that persons with blindness had created the drawings (the informed group) in contrast to those who remained unaware (the uninformed group) declared – both – greater subjective understanding and higher appreciation of the exhibited works. In the informed group (N = 15), in comparison to the uninformed group (N = 15), the correlation between appreciation and subjective understanding of artwork was stronger. Conclusions: We discuss our pattern of results considering the attributional approach to creativity (Kasof, 1995) and the model of a cognitive mastering process of aesthetic experiences (Leder, Belke, Oeberst, & Augustin, 2004). Our results can be used, among others, by educators working in art galleries and museums.pl
    dc.language.isoenpl
    dc.publisherUniversity of Białystokpl
    dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 3.0 License-
    dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/3.0/-
    dc.subjectEmpirical aestheticspl
    dc.subjectGallery contextpl
    dc.subjectThe stereotype of disabilitypl
    dc.subjectCognitive masteringpl
    dc.subjectAesthetic Ahapl
    dc.subjectAttributional approachpl
    dc.subjectCreativitypl
    dc.titleIf I knew they were the expression of creativity in people with blindness, I would rate them higher - Bias in Evaluating the Work of People with Blindnesspl
    dc.typeArticlepl
    dc.rights.holder© 2020 Magdalena Szubielska, Agnieszka Fudali-Czyż, published by University of Białystok.pl
    dc.rights.holderThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.pl
    dc.identifier.doi10.1515/ctra-2019-0011-
    dc.description.EmailMagdalena Szubielska: magdasz@kul.lublin.plpl
    dc.description.EmailAgnieszka Fudali-Czyżs: agnieszka.fudali.czyz@gmail.compl
    dc.description.AffiliationMagdalena Szubielska - The John Paul II Catholic University of Lublin, Polandpl
    dc.description.AffiliationAgnieszka Fudali-Czyż - The John Paul II Catholic University of Lublin, Polandpl
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    dc.description.volume6pl
    dc.description.issue2pl
    dc.description.firstpage182pl
    dc.description.lastpage197pl
    dc.identifier.citation2Creativity. Theories – Research – Applicationspl
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