How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that includes (...) the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Continuing his exploration of the organization of complexity and the science of design, this new edition of Herbert Simon's classic work on artificial ...

1. Bd. Vier Bücher, nebst einem Anhange, der die Kritik der kantischen Philosophie enthält -- 2. Bd. Welcher die Ergänzungen zu die den vier Büchern des ersten Bandes enthält.

Scene Perception is the visual perception of an environment as viewed by an observer at any given time. It includes not only the perception of individual objects, but also such things as their relative locations, and expectations about what other kinds of objects might be encountered. -/- Given that scene perception is so effortless for most observers, it might be thought of as something easy to understand. However, the amount of effort required by a process often bears little relation to (...) its underlying complexity. A closer look shows that scene perception is a highly complex activity, and that any account of it must deal with several difficult issues: What exactly is a scene? What aspects of it do we represent? And what are the processes involved? Finding the answers to these questions has proven to be extraordinarily difficult. (shrink)

We propose that aesthetic pleasure is a function of the perceiver's processing dynamics: The more fluently perceivers can process an object, the more positive their aesthetic response. We review variables known to influence aesthetic judgments, such as figural goodness, figure-ground contrast, stimulus repetition, symmetry, and prototypicality, and trace their effects to changes in processing fluency. Other variables that influence processing fluency, like visual or semantic priming, similarly increase judgments of aesthetic pleasure. Our proposal provides an integrative framework for the study (...) of aesthetic pleasure and sheds light on the interplay between early preferences versus cultural influences on taste, preferences for both prototypical and abstracted forms, and the relation between beauty and truth. In contrast to theories that trace aesthetic pleasure to objective stimulus features per se, we propose that beauty is grounded in the processing experiences of the perceiver, which are in part a function of stimulus properties. (shrink)

We present a theory of human artistic experience and the neural mechanisms that mediate it. Any theory of art has to ideally have three components. The logic of art: whether there are universal rules or principles; The evolutionary rationale: why did these rules evolve and why do they have the form that they do; What is the brain circuitry involved? Our paper begins with a quest for artistic universals and proposes a list of ‘Eight laws of artistic experience’ -- a (...) set of heuristics that artists either consciously or unconsciously deploy to optimally titillate the visual areas of the brain. One of these principles is a psychological phenomenon called the peak shift effect: If a rat is rewarded for discriminating a rectangle from a square, it will respond even more vigorously to a rectangle that is longer and skinnier that the prototype. We suggest that this principle explains not only caricatures, but many other aspects of art. Example: An evocative sketch of a female nude may be one which selectively accentuates those feminine form-attributes that allow one to discriminate it from a male figure; a Boucher, a Van Gogh, or a Monet may be a caricature in ‘colour space’ rather than form space. Even abstract art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate visual areas may have evolved specifically to extract correlations in different domains , and discovering and linking multiple features into unitary clusters -- objects -- is facilitated and reinforced by direct connections from these areas to limbic structures. In general, when object-like entities are partially discerned at any stage in the visual hierarchy, messages are sent back to earlier stages to alert them to certain locations or features in order to look for additional evidence for the object . Finally, given constraints on allocation of attentional resources, art is most appealing if it produces heightened activity in a single dimension rather than redundant activation of multiple modules. This idea may help explain the effectiveness of outline drawings and sketches, the savant syndrome in autists, and the sudden emergence of artistic talent in fronto-temporal dementia. In addition to these three basic principles we propose five others, constituting a total of ‘eight laws of aesthetic experience’. (shrink)

Die von Jens Timmermann besorgte Neuausgabe innerhalb der Philosophischen Bibliothek bietet den vollständigen Wortlaut der beiden Originalausgaben von 1781 und 1787. Der Kantische Text wurde unter Wahrung der Interpunktion und sprachlicher Eigenheiten sehr behutsam an die heutigen orthographischen Regeln angeglichen. Die semantisch bedeutenden Korrekturvorschläge späterer Herausgeber (nicht nur der Akademie-Ausgabe) sind, wo sie nicht in den Text Aufnahme gefunden haben, am Fuß der Seite verzeichnet. Alle wesentlichen Unterschiede zwischen den Originalausgaben sind durch Kursivdruck hervorgehoben, größere Abweichungen ganzer Textstücke - etwa (...) in der Einleitung und im Kapitel über Phaenomena und Noumena - wurden synoptisch gegenübergestellt, so daß Art und Umfang der Umarbeitung unmittelbar abgelesen werden können. Die durchgängig neu bearbeitete Studienausgabe folgt in den Grundprinzipien der seit 1926 in Forschung und Lehre maßgeblichen Ausgabe von Raymund Schmidt, die hiermit abgelöst wird. Sie wird ergänzt durch eine umfangreiche Bibliographie von Heiner Klemme sowie durch einen ausführlichen Personen- und Sachindex. (shrink)

Routledge is now re-issuing this prestigious series of 204 volumes originally published between 1910 and 1965. The titles include works by key figures such asC.G. Jung, Sigmund Freud, Jean Piaget, Otto Rank, James Hillman, Erich Fromm, Karen Horney and Susan Isaacs. Each volume is available on its own, as part of a themed mini-set, or as part of a specially-priced 204-volume set. A brochure listing each title in the "International Library of Psychology" series is available upon request.

The account that Edelman gives in this book is accessible, yet unified and rigorous, and the big picture he presents is supported by evidence ranging from ...

The remarkable successes of the physical sciences have been built on highly general quantitative laws, which serve as the basis for understanding an enormous variety of specific physical systems. How far is it possible to construct universal principles in the cognitive sciences, in terms of which specific aspects of perception, memory, or decision making might be modelled? Following Shepard (e.g.,1987), it is argued that some universal principles may be attainable in cognitive science. Here, 2 examples are proposed: the simplicity principle (...) (which states that the cognitive system prefers patterns that provide simpler explanations of available data); and the scale‐invariance principle, which states that many cognitive phenomena are independent of the scale of relevant underlying physical variables, such as time, space, luminance, or sound pressure. This article illustrates how principles may be combined to explain specific cognitive processes by using these principles to derive SIMPLE, a formal model of memory for serial order (Brown, Neath, & Chater, 2007), and briefly mentions some extensions to models of identification and categorization. This article also considers the scope and limitations of universal laws in cognitive science. (shrink)