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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.
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.
Wertheimer developed his Gestalt theory in 1910 while he was on board a train from Vienna for a vacation in Germany's Rhineland. [19] Gestalt, in the closest English definition of the term, is translated potentially as configuration, form, holistic, structure, and pattern. [14] According to Gestalt psychology, perception is a whole.
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.
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]
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 ...
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.
Definition Ref C1 [C2] {DD} Film Examples (DD) Perception image Zeroness: Percepts Perception-image: I. Solid perception: The perception of and by the film-world of a central character. 76: Le scaphandre et le papillon: II. Liquid perception: Perceptions and the perceived proliferate, an ensemble film. 76: Timecode: III. Gaseous perception: Non ...