An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate a (...) theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Sensitivity to others’ emotional signals is an important factor for social interaction. While many studies of emotional reactivity focus on facial emotional expressions, signals such as pupil dilation which can indicate arousal, may also affect observers. For example, observers’ pupils dilate when viewing someone with dilated pupils, so-called pupillary contagion. Yet it is unclear how pupil size and emotional expression interact as signals. Further, examining individual differences in emotional reactivity to others can shed light on its mechanisms and potential outcomes. (...) In the current study, adults’ (N = 453) pupil size was assessed while they viewed images of the eye region of individuals varying in emotional expression (neutral, happy, sad, fearful, angry) and pupil size (large, medium, small). Participants showed pupillary contagion regardless of the emotional expression. Individual differences in demographics (gender, age, socioeconomic status) and psychosocial factors (anxiety, depression, sleep problems) were also examined, yet the only factor related to pupillary contagion was socioeconomic status, with higher socioeconomic status predicting less pupillary contagion for emotionally-neutral stimuli. The results suggest that while pupillary contagion is a robust phenomenon, it can vary meaningfully across individuals. (shrink)