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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.
He was Head of the Bionics Research Laboratory, Professor of Bionics, and Department Chairman 1968–70. Gregory was founding editor of the journal Perception (1972), which emphasized phenomenology and novel percepts produced by new stimuli. [4] He was a founding member of the Experimental Psychology Society and served as its president in 1981 ...
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.
It was first recorded in 1799 by Alexander von Humboldt who observed illusory movement of a star in a dark sky, although he believed the movement was real. [2] It is presumed to occur because motion perception is always relative to some reference point, and in darkness or in a featureless environment there is no reference point, so the position ...
A fourth theory of perception in opposition to naive realism, enactivism, attempts to find a middle path between direct realist and indirect realist theories, positing that cognition is a process of dynamic interplay between an organism's sensory-motor capabilities and the environment it brings forth. [14]
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.
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 ...
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.