Pablo P. L. Tinio and Helmut Leder
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780262019583
- eISBN:
- 9780262314695
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019583.003.0013
- Subject:
- Psychology, Cognitive Neuroscience
This chapter examines how artists’ creative devices challenge the perceivers of their artworks by shaping visual perception, object recognition, memory processes, processing speed, meaning-making, ...
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This chapter examines how artists’ creative devices challenge the perceivers of their artworks by shaping visual perception, object recognition, memory processes, processing speed, meaning-making, emotions, and aesthetic evaluations. In addition to discussing traditionally known creative devices such as juxtaposition, manipulation of line, and cropping, the chapter introduces new concepts such as the “photographic peak-shift effect” and the “visual aesthetic narrative,” which are particularly amenable to experimental and neuroscientific examination. The authors also discuss how art has the power to capture attention and interest by challenging perceivers.Less
This chapter examines how artists’ creative devices challenge the perceivers of their artworks by shaping visual perception, object recognition, memory processes, processing speed, meaning-making, emotions, and aesthetic evaluations. In addition to discussing traditionally known creative devices such as juxtaposition, manipulation of line, and cropping, the chapter introduces new concepts such as the “photographic peak-shift effect” and the “visual aesthetic narrative,” which are particularly amenable to experimental and neuroscientific examination. The authors also discuss how art has the power to capture attention and interest by challenging perceivers.
Raphael Rosenberg and Christoph Klein
- Published in print:
- 2015
- Published Online:
- August 2015
- ISBN:
- 9780199670000
- eISBN:
- 9780191793479
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199670000.003.0005
- Subject:
- Psychology, Cognitive Psychology, Social Psychology
Gaze movements have been an issue in the history of art long before they became a research topic of cognitive sciences. Empirical research partly contradicts and partly confirms the assumptions of ...
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Gaze movements have been an issue in the history of art long before they became a research topic of cognitive sciences. Empirical research partly contradicts and partly confirms the assumptions of art historical texts. Therefore and thanks to the latest technological developments eye-tracking significantly contributes to the understanding of the perception of painting. The first part of this chapter gives an introduction to the analysis of gaze movements as a psychological method, including an overview of the physiological and neural basis of fixations and saccades as well as the relation of visual attention and gaze movements. The second part summarizes eye-tracking studies on the perception of paintings as they have been accomplished since the 1930s, discussing the variations of gaze movements during beholding, and showing how they vary depending to paintings, to beholders (individual and group-specific differences), as well as to task and context.Less
Gaze movements have been an issue in the history of art long before they became a research topic of cognitive sciences. Empirical research partly contradicts and partly confirms the assumptions of art historical texts. Therefore and thanks to the latest technological developments eye-tracking significantly contributes to the understanding of the perception of painting. The first part of this chapter gives an introduction to the analysis of gaze movements as a psychological method, including an overview of the physiological and neural basis of fixations and saccades as well as the relation of visual attention and gaze movements. The second part summarizes eye-tracking studies on the perception of paintings as they have been accomplished since the 1930s, discussing the variations of gaze movements during beholding, and showing how they vary depending to paintings, to beholders (individual and group-specific differences), as well as to task and context.
Anjan Chatterjee and Eileen Cardilo (eds)
- Published in print:
- 2022
- Published Online:
- November 2021
- ISBN:
- 9780197513620
- eISBN:
- 9780197513651
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197513620.001.0001
- Subject:
- Neuroscience, Behavioral Neuroscience
Neuroscience joins the long history of discussions about aesthetics in psychology, philosophy, art history, and the creative arts. In this volume, leading scholars in this nascent field reflect on ...
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Neuroscience joins the long history of discussions about aesthetics in psychology, philosophy, art history, and the creative arts. In this volume, leading scholars in this nascent field reflect on the promise of neuroaesthetics to enrich our understanding of this universal yet diverse facet of human experience. The volume will inform and stimulate anyone with an abiding interest in why it is that, across time and culture, we respond to beauty, engage with art, and are affected by music and architecture. The volume consists of essays from foundational researchers whose empirical work launched the field. Each essay is anchored to an original, peer-reviewed paper from the short history of this new and burgeoning subdiscipline of cognitive neuroscience. Authors of each essay were asked three questions: (1) What motivated the original paper? (2) What were the main findings or theoretical claims made?, and (3) How do those findings or claims fit with the current state and anticipated near future of neuroaesthetics? Together, these essays establish the territory and current boundaries of neuroaesthetics and identify its most promising future directions. Topics include models of neuroaesthetics and discussions of beauty, art, dance, music, literature, and architecture. The volume targets the general public; it also serves as an important resource for scientists, humanitarians, educators, and newcomers to the field, and it will catalyze interdisciplinary conversations critical to the maturation of this young field.Less
Neuroscience joins the long history of discussions about aesthetics in psychology, philosophy, art history, and the creative arts. In this volume, leading scholars in this nascent field reflect on the promise of neuroaesthetics to enrich our understanding of this universal yet diverse facet of human experience. The volume will inform and stimulate anyone with an abiding interest in why it is that, across time and culture, we respond to beauty, engage with art, and are affected by music and architecture. The volume consists of essays from foundational researchers whose empirical work launched the field. Each essay is anchored to an original, peer-reviewed paper from the short history of this new and burgeoning subdiscipline of cognitive neuroscience. Authors of each essay were asked three questions: (1) What motivated the original paper? (2) What were the main findings or theoretical claims made?, and (3) How do those findings or claims fit with the current state and anticipated near future of neuroaesthetics? Together, these essays establish the territory and current boundaries of neuroaesthetics and identify its most promising future directions. Topics include models of neuroaesthetics and discussions of beauty, art, dance, music, literature, and architecture. The volume targets the general public; it also serves as an important resource for scientists, humanitarians, educators, and newcomers to the field, and it will catalyze interdisciplinary conversations critical to the maturation of this young field.
Aakash Singh Rathore and Rimina Mohapatra
- Published in print:
- 2017
- Published Online:
- January 2017
- ISBN:
- 9780199468270
- eISBN:
- 9780199087464
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199468270.003.0009
- Subject:
- Philosophy, Philosophy of Mind, General
In this chapter Hegel interrogates what constitutes the beautiful in Indian art, and suggests that it delves in the symbolic, or the fantastic, namely, products of sublime imagination— which forms ...
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In this chapter Hegel interrogates what constitutes the beautiful in Indian art, and suggests that it delves in the symbolic, or the fantastic, namely, products of sublime imagination— which forms only the beginnings of art insofar as it looks beyond sensuous content. This unconscious, tenderly sensuous, wondrous infancy is significant as a necessary step in the history of spirit, and for that same reason it turns out to be far from the formal elevation towards “unstaggering” conceptual/spiritual thinking. Hegel finds a contradiction in the Absolute or Brahman: total abstraction without concrete determination. In Indian art, divinity and worldliness come together, combining the sacred (infinite) and the profane (finite). Further, the universality of the Absolute is expressed by a measureless extension of its wild fantastical images. The Indian imagination consists of a plurality of divinities, human personifications and nature representations. In pantheism, because of conflicted unity there is no reconciliation between the sensuous finite (mode of art or sense perception) and the abstract infinite (the Absolute or the object of art).Less
In this chapter Hegel interrogates what constitutes the beautiful in Indian art, and suggests that it delves in the symbolic, or the fantastic, namely, products of sublime imagination— which forms only the beginnings of art insofar as it looks beyond sensuous content. This unconscious, tenderly sensuous, wondrous infancy is significant as a necessary step in the history of spirit, and for that same reason it turns out to be far from the formal elevation towards “unstaggering” conceptual/spiritual thinking. Hegel finds a contradiction in the Absolute or Brahman: total abstraction without concrete determination. In Indian art, divinity and worldliness come together, combining the sacred (infinite) and the profane (finite). Further, the universality of the Absolute is expressed by a measureless extension of its wild fantastical images. The Indian imagination consists of a plurality of divinities, human personifications and nature representations. In pantheism, because of conflicted unity there is no reconciliation between the sensuous finite (mode of art or sense perception) and the abstract infinite (the Absolute or the object of art).
