24:I[63208,["8920","static/chunks/8920-efbff8517d590b7e.js","9097","static/chunks/9097-7e60ff382fede0de.js","5914","static/chunks/5914-356082358a498a0b.js","9903","static/chunks/9903-11222066602aad8e.js","5438","static/chunks/5438-cfc6cd3ec63ed58c.js","3851","static/chunks/3851-d9d99b9df58ccefb.js","4621","static/chunks/4621-60797c2425663d2a.js","6871","static/chunks/6871-85cb03c97585f46a.js","6736","static/chunks/6736-932312a004c99faf.js","4550","static/chunks/4550-0bf059e3050c08b3.js","688","static/chunks/688-a6a2ac7bff269cd3.js","3984","static/chunks/3984-063c0b62f32133c7.js","7038","static/chunks/7038-4f87670d4e55ef18.js","9039","static/chunks/9039-75366c62dc7d0d0e.js","4563","static/chunks/4563-ad980d1babbf7b0b.js","6761","static/chunks/6761-0c10d1446de7ae1c.js","744","static/chunks/744-1e76229abb9e297b.js","7342","static/chunks/7342-1586df78600bf911.js","3617","static/chunks/3617-1f62a097637f4747.js","5895","static/chunks/5895-caa6c774914eb108.js","7481","static/chunks/7481-3b84c503a2ebfb3f.js","3668","static/chunks/3668-7dab69e4121c33af.js","39","static/chunks/39-e93a27d0920e6d92.js","2881","static/chunks/2881-445cc2384af2c6f9.js","2364","static/chunks/2364-e83d52fb21729d99.js","3208","static/chunks/3208-e65462d166bd3688.js","7582","static/chunks/app/toc/%5Btla%5D/%5Bvolume%5D/%5Bissue%5D/page-694a0e465c2c1334.js"],"default"] 25:T486,

A classification of patterned design on Yurok, Karok, and Hupa baskets by the crystallographic symmetry classes which structure the design elements reveals that traditional designs, designated as “ours” by Yurok, Karok, and Hupa informants were recognized by these informants as “put together right” when they were consistently structured by two symmetries, p112 and pma2. Baskets said to be “not ours” were judged as “against the law” because, although they were also frequently structured by the two traditional symmetries, they were distinguishable by the addition of new colors and motifs. Ironically, despite the increasing breakup of California Indian society by white culture, turn-of-the century white collector demand for “authentic” baskets served to preserve the structure of the traditional design system. Collector demand enabled the Indians to make a living producing baskets, but these were only traditional in some aspects (structure) while other aspects were altered so that the “sale” baskets would be clearly distinct from those they made for their own use.

26:T4dc,

Models of evaluative judgment in applied aesthetics generally assume that movements of objects' positions in a multidimensional perceptual space will produce corresponding changes in preferences. However, such spatial representations have usually been tested using static designs or, at best, longitudinal studies that fail to tie perceptual movements to shifts in affective response. This study reports what we believe to be a first dynamic analysis of changes in aesthetic responses. Specifically, twenty-nine aesthetically naive subjects supplied perceptual and affective ratings of twenty art prints on four occasions spaced a week apart. Multiple discriminant analysis (MDA) of the perception data created an MDA space representing each person's perceptions of each print at the beginning and end of the period. We then constructed each individual's preference function based on the MDA space, used beginning and ending perceived positions to compute changes in that preference function, regarded these as predictions of changes in actual affect, and correlated predicted with actual affective shifts to obtain a validity assessment of about r² = .25 for our dynamic spatial analysis of trends in tastes.