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Rudolf Arnheim (July 15, 1904 – June 9, 2007) was a German-born writer, art and film theorist, and perceptual psychologist. He learned Gestalt psychology from studying under Max Wertheimer and Wolfgang Köhler at the University of Berlin and applied it to art.
Ernst Gombrich discussed perceptualism in terms of universal perceptual and psychological responses that govern the reception of images across time and differences in culture. Jack Chambers discussed perceptualism, which he first called "Perceptual Realism," in terms of visual art that is a "profound reflection of primary sensory experience ...
The psychology of art is the scientific study of cognitive and emotional processes precipitated by the sensory perception of aesthetic artefacts, such as viewing a painting or touching a sculpture.
In visual perception, the kinetic depth effect is the phenomenon whereby the three-dimensional structural form of an object can be perceived when the object is moving. In the absence of other visual depth cues , this might be the only perception mechanism available to infer the object's shape.
In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences ...
A mathematical theory of perception-in-action has been devised and investigated in many forms of controlled movement, and has been described in many different species of organism using the General Tau Theory. According to this theory, "tau information", or time-to-goal information is the fundamental percept in perception.
According to Event Segmentation Theory (EST), [25] the perception of event boundaries is a side effect of prediction during ongoing perception. Prediction is an adaptive mechanism made up of cognitive event models that represent "what is going on now" to create expectations and attentive biases for ongoing processing.
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.