Search results
Results From The WOW.Com Content Network
In practice, perceptual art may be interpreted as the engagement of multi-sensory experiential stimuli combined with the multiplicity of interpretive meanings on the part of an observer. Sometimes, the role of observer is obscured as members of the public may unwittingly or unknowingly be participants in the creation of the artwork itself.
The Psychology of Art (1925) by Lev Vygotsky (1896–1934) is another classical work. Richard Müller-Freienfels was another important early theorist. [8] The work of Theodor Lipps, a Munich-based research psychologist, played an important role in the early development of the concept of art psychology in the early decade of the twentieth century.
The theory is based on four basic assumptions: . Objects differ in the fluency with which they can be processed. Variables that facilitate fluent processing include objective features of stimuli, like goodness of form, symmetry, figure-ground contrast, as well as experience with a stimulus, like repeated exposure or prototypicality.
In the philosophy of mind, neuroscience, and cognitive science, a mental image is an experience that, on most occasions, significantly resembles the experience of "perceiving" some object, event, or scene but occurs when the relevant object, event, or scene is not actually present to the senses.
The prefrontal cortex may be generally activated for directing the attention of the cognitive and perceptual mechanisms towards aesthetic perception in viewers untrained in visual arts. [23] In other words, related directly to a person viewing art from an aesthetic perception due to the top-down control of their cognition.
“I do think beauty is important,” Timothy Hull says, “and I want my work to be beautiful—as well as intellectually engaging. That’s the challenge.”
The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world. [1] Any explicit account of perception requires a commitment to one of a variety of ontological or metaphysical views.
"Art that is too small for the space is something we see often, and it dates a living room," she says. "Look for larger-scale pieces to really fill the walls and update the room." Bigger doesn't ...