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Art and Visual Perception: A Psychology of the Creative Eye

University of California Press (1954)

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  1. (1 other version)How Artworks Modify our Perception of the World.Alfredo Vernazzani - 2021 - Phenomenology and the Cognitive Sciences 22 (2):1-22.
    Many artists, art critics, and poets suggest that an aesthetic appreciation of artworks may modify our perception of the world, including quotidian things and scenes. I call this Art-to-World, AtW. Focusing on visual artworks, in this paper I articulate an empirically-informed account of AtW that is based on content related views of aesthetic experience, and on Goodman’s and Elgin’s concept of exemplification. An aesthetic encounter with artworks demands paying attention to its aesthetic, expressive, or design properties that realize its purpose. (...)
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  • Thinking, Experiencing and Rethinking Mereological Interdependence.Michael W. Stadler - 2019 - Gestalt Theory 41 (1):31-46.
    Summary The present article is a partly ontological, partly Gestalt-psychological discussion of the thinkability of structures in which parts and whole are interdependent (MI). In the first section, I show that in the framework of E. Husserl’s formal part–whole ontology, the conceptualization of such an interdependence leads to (mereo)logical problems. The second section turns to and affirms the experience of this interplay between parts and whole, exemplified with B. Pinna’s recent research on meaningful Gestalt perception. In the final section, I (...)
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  • Aesthetics and action: situations, emotional perception and the Kuleshov effect.Matthew Crippen - 2019 - Synthese 198 (Suppl 9):2345-2363.
    This article focuses on situations and emotional perception. To this end, I start with the Kuleshov effect wherein identical shots of performers manifest different expressions when cut to different contexts. However, I conducted experiments with a twist, using Darth Vader and non-primates, and even here expressions varied with contexts. Building on historically and conceptually linked Gibsonian, Gestalt, phenomenological and pragmatic schools, along with consonant experimental work, I extrapolate these results to defend three interconnected points. First, I argue that while perceiving (...)
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  • Mutual mimesis of nature and culture.Farouk Y. Seif - 2010 - Sign Systems Studies 38 (1-4):242-267.
    Since the beginning of history humans have attempted to represent nature and culture through mimesis. This article focuses on the teleologicalaspects of mimesis and offers a different perspective that transcends the notion of sustainability into an eco-humanistic metamorphosis of culture and nature.Drawing from semiotics, phenomenology and architectural design the article challenges the polarization of mimetic representations of nature and culture,which are inclusive and homomorphic phenomena, and offers insight into the mutual mimesis of nature and culture. Two different empirical observationssubstantiate the (...)
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  • Prometheus and the Muses: On art and technology.Barry Allen - 2006 - Common Knowledge 12 (3):354-378.
    We tend to think of art and technology as having no important connection. What starker opposition than between the Artist and the Engineer: the irrational dreamer and the rigorous realist, the indulgent devotee of subjectivity and the austere technician? We tend not to think that engineering might be enhanced by the love of beauty, or that it is impossible to be a really good engineer without understanding art. Yet we depend on essentially aesthetic, artistic skills in engineers, the capacity to (...)
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  • Gestalt isomorphism and the primacy of the subjective perceptual experience.Steven Lehar - 1998 - Behavioral and Brain Sciences 21 (6):763-764.
    The Gestalt principle of isomorphism reveals the primacy of subjective experience as a valid source of evidence for the information encoded neurophysiologically. This theory invalidates the abstractionist view that the neurophysiological representation can be of lower dimensionality than the percept to which it gives rise.
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  • Crying Hegel in Art History.Ian Verstegen - 2016 - Journal of Critical Realism 15 (2):107-121.
    Within cultural history there is a widespread eschewal of speculative reasoning. This article notes the complicity of the general postmodern avoidance of metanarratives with Anglo-Saxon empiricism and locates the major problem facing cultural history in postmodernism's conflation of trajectories and teleologies. Any discussion of the directionality of history is imputed to be a full-blown teleology. Using previous discussions from different fields, the difference between a teleology and trajectory is defended and, after clarifying certain confusions, it is argued that trajectories, as (...)
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  • Cognitive Processes Underlying the Artistic Experience.Alejandra Wah - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):45-58.
    Based on the field of aesthetics, for centuries philosophers and more recently scientists have been concerned with understanding the artistic experience focusing on emotional responses to the perception of artworks. By contrast, in the last decades, evolutionary biology has been concerned with explaining the artistic experience by focusing on the cognitive processes underlying this experience. Up until now, the cognitive mechanisms that allow humans to experience objects and events as art remain largely unexplored and there is still no conventional use (...)
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  • Preference for Well-Balanced Saliency in Details Cropped from Photographs.Jonas Abeln, Leonie Fresz, Seyed Ali Amirshahi, I. Chris McManus, Michael Koch, Helene Kreysa & Christoph Redies - 2015 - Frontiers in Human Neuroscience 9.
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  • There or not there? A multidisciplinary review and research agenda on the impact of transparent barriers on human perception, action, and social behavior.Gesine Marquardt, Emily S. Cross, Alexandra Allison De Sousa, Eve Edelstein, Alessandro Farne, Marcin Leszczynski, Miles Patterson & Susanne Quadflieg - 2015 - Frontiers in Psychology 6:130087.
    Through advances in production and treatment technologies, transparent glass has become an increasingly versatile material and a global hallmark of modern architecture. In the shape of invisible barriers, it defines spaces while simultaneously shaping their lighting, noise, and climate conditions. Despite these unique architectural qualities, little is known regarding the human experience with glass barriers. Is a material that has been described as being simultaneously there and not there from an architectural perspective, actually there and/or not there from perceptual, behavioral, (...)
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  • El reto afectivo de la investigación interdisciplinar.Luis E. Echarte Alonso - 2016 - Scientia et Fides 4 (2):155-183.
    The affective challenge of interdisciplinary research: In this paper I analyze the affective problem related to interdisciplinary research using, as a guiding theme, some of my autobiographical memories linked to Mariano Artigas. Starting from a theory of feelings that connects emotions closely to reasons, I defend that many problems in developing interdisciplinary research are caused by the current divorce reason/emotion in which many researchers are educated. Secondly, I identify three types of feelings in a hierarchical relationship, whose scope may be (...)
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  • Inferring Master Painters' Esthetic Biases from the Statistics of Portraits.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2017 - Frontiers in Human Neuroscience 11.
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  • To Communicate Without Signs Through Expressive Qualities.Michele Sinico - 2019 - Gestalt Theory 41 (1):47-60.
    Summary The present paper introduces the theoretical conceptualization of perceptual communication through expressive qualities. Initially, the difference with respect to the modality of perceptual communication mediated by signs is analyzed. Conversely, the theory of expressive qualities reflects the psychological conception of direct perception: any assumption of a cognitive stage of representation is excluded. Perceptual communication immediately expresses the specific character of the structural essence of the object. The structural essence is well studied by the perceptual paradigms of Experimental Phenomenology. Plurivocity, (...)
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  • Model and movement: studying cell movement in early morphogenesis, 1900 to the present.Janina Wellmann - 2018 - History and Philosophy of the Life Sciences 40 (3):59.
    Morphogenesis is one of the fundamental processes of developing life. Gastrulation, especially, marks a period of major translocations and bustling rearrangements of cells that give rise to the three germ layers. It was also one of the earliest fields in biology where cell movement and behaviour in living specimens were investigated. This article examines scientific attempts to understand gastrulation from the point of view of cells in motion. It argues that the study of morphogenesis in the twentieth century faced a (...)
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  • Microgenesis, immediate experience and visual processes in reading.Victor Rosenthal - 2002 - In [Book Chapter] (in Press).
    The concept of microgenesis refers to the development on a brief present-time scale of a percept, a thought, an object of imagination, or an expression. It defines the occurrence of immediate experience as dynamic unfolding and differentiation in which the ‘germ’ of the final experience is already embodied in the early stages of its development. Immediate experience typically concerns the focal experience of an object that is thematized as a ‘figure’ in the global field of consciousness; this can involve a (...)
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  • What levels of explanation in the behavioural sciences?Giuseppe Boccignone & Roberto Cordeschi (eds.) - 2015 - Frontiers Media SA.
    Complex systems are to be seen as typically having multiple levels of organization. For instance, in the behavioural and cognitive sciences, there has been a long lasting trend, promoted by the seminal work of David Marr, putting focus on three distinct levels of analysis: the computational level, accounting for the What and Why issues, the algorithmic and the implementational levels specifying the How problem. However, the tremendous developments in neuroscience knowledge about processes at different scales of organization together with the (...)
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  • From Grouping to Coupling: A New Perceptual Organization in Vision, Psychology, and Biology.Baingio Pinna, Daniele Porcheddu & Katia Deiana - 2016 - Frontiers in Psychology 7.
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  • Sculptors, Architects, and Painters Conceive of Depicted Spaces Differently.Claudia Cialone, Thora Tenbrink & Hugo J. Spiers - 2018 - Cognitive Science 42 (2):524-553.
    Sculptors, architects, and painters are three professional groups that require a comprehensive understanding of how to manipulate spatial structures. While it has been speculated that they may differ in the way they conceive of space due to the different professional demands, this has not been empirically tested. To achieve this, we asked architects, painters, sculptors, and a control group questions about spatially complex pictures. Verbalizations elicited were examined using cognitive discourse analysis. We found significant differences between each group. Only painters (...)
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  • Multi-leveled objects: color as a case study.Liliana Albertazzi & Roberto Poli - 2014 - Frontiers in Psychology 5:82554.
    The paper presents color as a case study for the analysis of phenomena that pertain to several levels of reality and are typically framed by different sciences and disciplines. Color, in fact, is studied by physics, biology, phenomenology, and esthetics, among others. Our thesis is that color is a different entity for each level of reality, and that for this reason color generates different observables in the epistemologies of the different sciences. By analyzing color as a paradigmatic case of an (...)
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  • What Brandom won’t make explicit: On Habermas’s critique of Brandom.Anna Michalska - 2017 - Philosophy and Social Criticism 44 (1):41-60.
    In this contribution, I refer to a discussion between Jürgen Habermas and Robert Brandom on the latter’s normative pragmatics as advanced in Making it Explicit. Parting with Habermas, I intend to show that though both normative pragmatics and formal pragmatics postulate similar discursive ideals, the former, as compared with the latter, is not a particularly well-calibrated critical tool. I argue that whereas Brandom focuses on making conceptual norms explicit, and takes mutual recognition among participants to a linguistic practice for granted, (...)
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  • Semiotic systems of works of visual art: Signs, connotations, signals.Georgij Yu Somov - 2005 - Semiotica 2005 (157):1-34.
    The analysis of works of visual art illustrates typical groups of elements and interrelations, which form semiotic systems of these works. Specific systems of connotations and their relations with semantic structures, paradigmatics, and typical signal structures are described. Like in linguistic texts, different levels are formed in complex images. The following basic level types are distinguished: sems and other units of semantic level; signs subdivided into: icons of represented objects and connotative sign formations; representamens of basic signs as interpreted by (...)
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  • Phenomenal Causality II: Integration and Implication. [REVIEW]Timothy L. Hubbard - 2013 - Axiomathes 23 (3):485-524.
    The empirical literature on phenomenal causality (the notion that causality can be perceived) is reviewed. Different potential types of phenomenal causality and variables that influence phenomenal causality were considered in Part I (Hubbard 2012b) of this two-part series. In Part II, broader questions regarding properties of phenomenal causality and connections of phenomenal causality to other perceptual or cognitive phenomena (different types of phenomenal causality, effects of spatial and temporal variance, phenomenal causality in infancy, effects of object properties, naïve physics, spatial (...)
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  • Bodily expressions, feelings, and the direct perception account of social cognition.Francesca Forlè - 2020 - Phenomenology and the Cognitive Sciences 19 (5):1019-1034.
    In this paper, I will argue in favor of a direct perception account of social cognition, focusing on the idea that we can directly grasp at least some mental states of others through their bodily expressions. I will investigate the way we should consider expressions and their relations to mental phenomena in order to defend DP. In order to do so, I will present Krueger and Overgaard’s idea of expressions as constitutive proper parts of the mental phenomena expressed and I (...)
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  • Croce, Gemelli e l’estetica sperimentale.Luciano Mecacci - 2017 - Aisthesis: Pratiche, Linguaggi E Saperi Dell’Estetico 10 (2):47-51.
    The experimental approach to aesthetics, proposed by Gustav Fechner, was discussed in Italy at the beginning of the Twentieth century from different point of views. Benedetto Croce severely criticized experimental aesthetics by considering it as reductionist and naturalist. In contrast, the psychologist Agostino Gemelli stated the experimental validity and the theoretical relevance of this research perspective in determining the laws of aesthetic preference and judgment.
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  • La Perception Du Mouvement Dans L'Image Picturale.Geneviève Crabbé-Declève & Marie-Claude Jean-De Koninck - 1974 - Journal of Phenomenological Psychology 4 (2):425-444.
    Rapport d'expériences portant sur la reconnaissance, dans des photogrammes, des photographies ou des dessins, d'une action humaine filmée. Les résultats sont analysés à la lumière de certaines interprétations psychologiques de ce que l'on appelle le mouvement dans l'image. La reconnaissance ne pouvant pleinement rendre compte du phénomène perceptif en question, il est proposé d'y voir une forme de perception dans laquelle la dimension temporelle serait dominante.
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  • Using CNN Features to Better Understand What Makes Visual Artworks Special.Anselm Brachmann, Erhardt Barth & Christoph Redies - 2017 - Frontiers in Psychology 8.
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  • Illustrating Semiosis: A Pragmatic Turn to Peircean Semiotic Theory for Illustrators.Dave Wood - unknown
    The pragmatic semiotic theory of Charles Sanders Peirce has a lot of practical benefits for enhancing visual communication in illustrations. His triadic theory of Semiosis focuses on the dynamic interrelationships between the concept to be communicated, how it is represented through a semiotic sign, and how this affects the success of how the concept is eventually interpreted. Peirce's pragmatic semiotic theory uses complex language, and although Peirce is embraced in some design disciplines, the language that defines Semiosis is problematic beyond (...)
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  • The primacy of social over visual perspective-taking.Henrike Moll & Derya Kadipasaoglu - 2013 - Frontiers in Human Neuroscience 7.
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  • Goya breaks Alberti's window to send a message.Michael Kubovy - 2003 - Rivista di Estetica 43 (24):89-95.
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  • Reliable Top-Left Light Convention Starts With Early Renaissance: An Extensive Approach Comprising 10k Artworks.Claus-Christian Carbon & Alexander Pastukhov - 2018 - Frontiers in Psychology 9.
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  • Reconsidering the scribbling stage of drawing: a new perspective on toddlers' representational processes.Claudio Longobardi, Rocco Quaglia & Nathalie O. Iotti - 2015 - Frontiers in Psychology 6:145087.
    Although the scribbling stage of drawing has been historically regarded as meaningless and transitional, a sort of prelude to the "actual" drawing phase of childhood, recent studies have begun to re-evaluate this important moment of a child's development and find meaning in what was once considered mere motor activity and nothing more. The present study analyzes scribbling in all its subphases and discovers a clear intention behind young children's gestures. From expressing the dynamic qualities of an object and the child's (...)
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