The Color Line: the Influence of Race on Aesthetic Experience and its Inferred Connection to Implicit Racial Bias

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dc.contributor McKnight, Utz
dc.contributor Ward, Thomas
dc.contributor Castenell, Wendy
dc.contributor Allen, Rebecca S.
dc.contributor.advisor Black, Sheila
dc.contributor.author Jackson, Barbara Larsha
dc.date.accessioned 2021-11-23T14:33:48Z
dc.date.available 2021-11-23T14:33:48Z
dc.date.issued 2020
dc.identifier.other http://purl.lib.ua.edu/181445
dc.identifier.other u0015_0000001_0003884
dc.identifier.other Jackson_alatus_0004M_14390
dc.identifier.uri http://ir.ua.edu/handle/123456789/8116
dc.description Electronic Thesis or Dissertation
dc.description.abstract Implicit bias literature widely reports that biases shape perception in a number of real-world situations. However, a review of literature found no existing implicit bias studies that focus on the activation of biases during the process of art assessment. The current study fills this empirical gap. Methods: Eighty-nine students (Black — 33; White — 56) participated in a study on art interpretation where they judged fifteen paintings in four categories— Mainstream, Blackstream, Activist and Political— and reported on three dimensions related to their assessment, like, comfort and valence. Results: An analysis of the data determined that the Blackstream category yielded significant results on the dimension of comfort with White people being less comfortable with images in the Blackstream category than Blacks. No other significant results were found on the dimensions of comfort or like in the other art categories, indicating that there were no significant differences in participant responses to the artworks in these categories. A word analysis on the written interpretations of the paintings was conducted on the dimensions of positive, neutral and negative language usage, which indicated that Whites responded less positively than Blacks to art in the Blackstream category. Discussion and implications: These findings indicate that race plays a role in the interpretation of paintings, specifically those in the Black art category. A future study will examine how age, executive functioning, openness to experience, explicit and implicit racism play a role in mediating the responses of Black and White participants to artworks. Keywords: perception, aesthetic experience, race, art
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject Aesthetic Experience en_US
dc.subject Art en_US
dc.subject Cognition en_US
dc.subject Implicit Bias en_US
dc.subject Perception en_US
dc.subject Race en_US
dc.title The Color Line: the Influence of Race on Aesthetic Experience and its Inferred Connection to Implicit Racial Bias en_US
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. Department of Psychology
etdms.degree.discipline Cognitive psychology
etdms.degree.grantor The University of Alabama
etdms.degree.level master’s
etdms.degree.name M.A.


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