No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Toward a Psychology of Art
... 4. Living in a common world, with corresponding meanings between individuals, a common sense of reality is shared. 5. Language marks the coordinates of everyday life and orders reality as necessary objectivations, revealing reality as appearing to be already objectified as designated objects, providing sense and meaning. ...
... Kruger's life [Siegel 1988:304], directs the artist and prescribes the pragmatics on how to go about shifting the significance of the epistemophilia: "Elsewhere than in advertising, the anchorage may be ideological and indeed this is its principal function; the text directs the reader through the signified of the image, causing him to avoid some and to receive others; by means of any often subtle dispatching, it remote-controls him toward a meaning chosen in advance" [Barthes, in Siegel 1988:304]. 5 Is Barthes talking about the metanarratives of domination, or this new language? It would seem that it could apply to both: the myths of domination can be used as functionally in the new language to hide its inner workings as it hides the persuasiveness of the old. ...
... The old ideologies have reshaped and renamed themselves, and are fighting the same iconoclastic battles as in the past, only now the lines of division are not so clear-cut as in the past. The old ideologies have taken on a postmodernist stance in Toffler' sense, and fight against both traditionalism and modernism;5 ...
Certain postmodern works of art, using a materialistic theory of language, privilege theory over practice in their function of liberating the Other through the assertiveness of the new voices and metanarratives, in a visual language that turns away from creative artistic preoccupations and towards social manipulation through a persuasive linguistical system of appropriation and subverted deconstruction. It becomes a visual language of art that transforms symbolic systems of signification into those of materialistic and prosaic signification. The theorists present their own metalinguistical images of fiction as those of society, and through the mechanism of exchange in the simulacrum, social subjects come to inhabit the world of virtual reality in these created fictions, thus abandoning positions of power, now occupied by the new creators of reality, the critics, theorists, and artists who legitimize the marketplace of ideas, in which the theories of the new open society gain the authority of decision-making re falsehood and truth.
A materialist language-game, whether literary or artistic, brings about the institutionalization of deconstruction; it reappropriates the value practice. Although Derrida [1981:90] warns against this, it has developed to a point where a strategy for textual criticism becomes a mainstream method for producing texts, and, consequently, producing meaning and truth. Any theory or language system, that wants to formulate verbal propositions exclusive of even the possibility of misguided determinate meaning, is impossible to achieve. It is argued that this materialist language-game continually strives to formulate, and regulate, theoretical verbal propositions incapable of implying unwanted or ideological consequences, as a result of which [failure] this language-game becomes an ideological critique seeking to replace that which it opposes, in the sense of "one's language will always be complicit with the language one seeks to deconstruct in ways one simply cannot see" [Waugh 1992a:72, on Derrida].
... Pythagoras, Socrates, and Plato used visual images to teach a variety of subjects such as geometry and mathematics. Pettersson (1993) pointed out that Aristotle "provided a seminal notion that art and visual literacy theorists Arnheim (1969; and Dondis (1973) further refined" (p. 136). ...
... However, Arnheim's theory of visual thinking stands out as the one which may constitute the most important aspect-"perhaps the crux, of the visual literacy concept" (Hortin, 1994, p. 10). Arnheim (1967) asserted that reasoning is not accomplished exclusively by words and numbers. Contrary to some psychologists' belief that "there can be no thinking except in words" (Arnheim, 1969, p. 142), he strongly advocated images as equal participants in the reasoning process. ...
... Thus, perception is seen as a cognitive ability (Kovalik & Lambdin, 1996), that is, "a legitimate intellectual ability" (Flory, 1978, p. 5). Arnheim (1969) also claimed that visual thinking was not only about information processing but also about knowledge of visual elements. Furthermore, he argued that understanding images is a matter that merits serious consideration. ...
Despite numerous efforts, visual literacy scholars have not yet arrived at a general con- sensus for the theoretical organization of our field. In this chapter, we have examined the relevant literature and provided a framework that may describe and explain how visual literacy has performed to date. Our work may afford a better understanding and possibly also prescribe how VL may manifest itself in the future. The proposed theory of visual literacy is grounded on five areas of study that serve as its main pillars. These areas are (1) visual communication, (2) visual language, (3) visual learning, (4) visual perception, and (5) visual thinking. It is critical that visual literacists embrace a frame- work that both brings together and represents these significant areas of study. Over the past 50 years, work in these areas has closely knitted the visual literacy fabric and made it into what it is today. A solid, cohesive theoretical framework is necessary to assist in defining our field of study more effectively, to drive a more rigorous research agenda, and to clearly signpost areas of expansion and innovation for both scholars and practitioners across all the disciplines that visual literacy touches. We sincerely hope we have provided exactly that.
... As Arnheim [43,44] stated 'perhaps perception consists in the application, to the stimulus material, of "perceptual categories", such as roundness, redness, smallness, symmetry, verticality, etc. which are evoked by the structure of the given configuration' [44, p. 32]. Thus, he provided a translation of Fechner's processing from below, while further arguing 'if perceiving consists in the creation of patterns of perceptual categories, adequate to the stimulus configuration, and if the artist's task includes the representation of such patterns, then he has actually to invent a pictorial form that more often than not cannot simply be "read off" from the percept' [44, p. 35]. ...
Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis—one might say a ‘metaphor’—for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms—from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization—a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study.
This article is part of the theme issue ‘Art, aesthetics and predictive processing: theoretical and empirical perspectives’.
... Se considera el aspecto psicológico como algo muy importante ya que no es tangible, pero en muchos casos se pueden producir daños irreparables. Arnheim, R. (1966). Toward a Psychology of Art. ...
Debido a lo serio y delicado que es tener jóvenes involucrados en adicciones a las drogas o alcohol, con pocos límites en sus hogares, ni estructura alguna, horarios de comida, estudio o una rutina, para tratar de buscar una solución asertiva para ellas y ellos, existen centros de rehabilitación que brindan diversas posibilidades para su recuperación. Además posee toda una estructura, que muchas veces jóvenes por falta de costumbre no toleran y buscan la posibilidad de escaparse y abandonar su tratamiento de rehabilitación. En centros de restauración, se busca alcanzar una armonía dentro de la población en recuperación, por medio de la música y el movimiento; ya que ambas permiten aportar el bienestar y las herramientas terapéuticas pertinentes para tratar los comportamientos desequilibrados o afecciones psicosomáticas de las personas, en este caso, jóvenes. Se debe mencionar que debido a la privación de libertad, tienden a presentar conductas agresivas contra ellos y ellas y los encargados del centro. La música y la utilización del movimiento pretenden ir reparando de adentro hacia afuera. Buscando el equilibrio y la salud mental, que aporta la práctica de alguna disciplina artistica en este caso la música y el movimiento; por todos los beneficios curativos, convirtiéndose en disciplinas más integrales para su desarrollo y sanación. Dalcroze (1931).
... The European economic and political crises of the 1930's and the social provisions of Roosevelt's New deal brought to the United states both a refugee intelligentsia and extensive programs for social welfare and reform. (Frampton, p.238) 12 European masters carried their social concerns on a general culture in which local conditions would be taken into care. In these circumstances, America offered a great and broad setting for the pioneering ideas of former Bauhaus masters (Benevolo, p.634). ...
The social, cultural, educational history of Basic Design education at the Middle East Technical University. Annexed with assigments given bw. 1962 and 2000.
... The resultant pattern exhibit various non-accidental qualities, such as selfsimilarity. We suggest that the analysis of the Ryoanji garden presented here provides a novel extension to Arnheim's earlier ideas in terms of order and complexity in the garden (Arnheim, 1966). He pointed out that classical French gardens typically employ axial symmetry in the form of a focal point that centers on a radially symmetrical section of the garden and a central axis or lane, leading to the focal centre, whereas Japanese rock gardens do not. ...
A rock garden, also known as a rockery or an alpine garden, is a small field or plot of ground designed to feature and emphasize a variety of rocks, stones, and boulders. Gardeners who enjoy growing a wide variety of plants are the best advocates of rock gardens. This type of garden can contain a mixture of evergreens, deciduous shrubs, bulbs, perennials and annuals. Collectively, the design they create is a myriad of colour, form and texture. Rocks, purchased or on-hand should provide the basic framework of the design. The best arrangement will look as if nature had a hand in it’s creation. Observation of natural outcroppings along highways and hillsides can be copied on a miniature scale. We can group small rocks together to give the impression of larger masses worn away by time and weathering. Medium stones should be used in groups of two or three. Bury large boulders halfway in the ground for stability. Cohesiveness is best achieved by using only one kind of rock in the garden. Limestone and sandstone are the two types readily available in this area.
... That material arranging, happens for the cost of deviation of real spatial situations, but within the scheme that is able to reconstruct in a reverse process when people find themselves in a real space. [2] However, we need to know that the city represents something more than just a mutually related physical structures. When talking about a city as a spatially defined and comprehensive urban unit, our notion of the city differs when we perceive it as "here" and when we perceive it as "there". ...
Moving within the city, both by vehicle and pedestrian, is a prerequisite of creating visual sequences. A variety of factors should be taken into consideration when planning cities, not only of functional nature, but also of the aesthetic one. A particular problem lies in complex cities having a compound identification matrix as a consequence of a boisterous development during long period of time. Considering that the city follows the needs of its user, inevitably moving along it, one of the most important factors required is easy orientation in the complex urban area. Some research has been carried out on the condition of easy orientation and moving in the city, and on appearance of urban elements that provide remembering of the city. This work deals with defining important factors effecting perceiving and memorizing, by inhabitants and also of those visiting it for the first time, regardless they are walking or using a vehicle. Physical structures, topography and a climate and a range of other elements are implied to create a clear idea of some urban area. Many elements were considered - not only being of fixed nature (streets, squares, topography and morphology), but also elements that make the essence of the urban image – elements that can also be some specific public transportation means, such as double-deckers in London, bicycles in Amsterdam or Beijing or gondolas in Venice. The purpose of this work is to notice the rules helping the urban planning process and contribute to reading and memorizing the image of the city.
... Art philosophers deal with the materials that influence the artwork and the artist's understanding of themselves and reality; using materials, the artist creates connections between the real world and the objects represented in the artwork (Arnheim, 1966(Arnheim, , 1974(Arnheim, , 1989(Arnheim, , 1992Bresler, Grauer, & Powell, 2014). The work of art reveals a new entity by translating reality using materials and their constraints (e.g., size, dimensions, and physical properties). ...
Studies have examined the assumption that teachers have previous perceptions, beliefs and knowledge about learning (Cochran-Smith & Villegas, 2015).This study presented the In-Action Mental Model of twenty leading artist-teachers while teaching Visual Arts in three Israeli art institutions of higher Education. Data was collected in two stages: videotaping of art lessons and stimulated recall interviews.Data was analyzed in three steps: Three artists-teachers' data was analyzed and based on the results, explicit (behavioral) and implicit (mental models) categories were built. In the second step, all the categories were analyzed in accordance to the three teachers' data. In the third step, data collected only from the artist-teacher that used different lesson patterns in the same lesson was analyzed.The teacher's mental model is influenced by the subject matter – visual arts. As evidence, the general mental model (Mevorach & Strauss, 2012) does not include all the components of the in-action mental model of teachers teaching visual arts. The characteristics of various types of subject matters may contribute to the understanding of the in-action mental model of teaching, and understand how these subject matters influence the in-action mental model, and the Teaching Model as a whole.
... Similarly, Arnheim (e.g. [53]) considered the means whereby structural unity of artworks (balance, grouping) and individual features drive responses. This was followed by, for example, Martindale [54,55], who more fully emphasized cognition, focusing on matching of schema and stimulus, and proposed that prototypicality is a key determinant for positive appraisal or affective response. ...
This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly profound, moving, disturbing, transformative, as well as mundane, results. This is achieved by combining recent theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions—chills, awe, thrills, sublime—and difference between “aesthetic” and “everyday” emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which, it is our hope, taken together can serve as a basis for future empirical and theoretical art research.
... The material functions as a stimulus that permits the participant not only an affinity between the idea and the materials, but also a result of an affinity between the materials displayed in front of him and the idea. This step accords with Arenheim`s [1]claim that the material influences the creator, leads and directs him, and sometimes vice versa. ...
... He was followed by Kreitler and Kreitler (1972), who took a largely cognitive and Gestalt approach, arguing that artwork content and structure make it a carrier of multiple meanings that can stimulate understanding and emotion. Similarly, based on Gestalt perception, (e.g., Arnheim, 1966) considered the means whereby structural unity of artworks (balance, grouping) and individual features drive responses. This was followed by, for example, Martindale (Martindale, 1988;Martindale et al., 1988), who more fully emphasized cognition, focusing on matching of schema and stimulus, and proposing prototypicality as a key determinant for positive appraisal/affective response. ...
The last decade has witnessed a renaissance of empirical and psychological approaches to art study, especially regarding cognitive models of art processing experience. This new emphasis on modeling has often become the basis for our theoretical understanding of human interaction with art. Models also often define areas of focus and hypotheses for new empirical research, and are increasingly important for connecting psychological theory to discussions of the brain. However, models are often made by different researchers, with quite different emphases or visual styles. Inputs and psychological outcomes may be differently considered, or can be under-reported with regards to key functional components. Thus, we may lose the major theoretical improvements and ability for comparison that can be had with models. To begin addressing this, this paper presents a theoretical assessment, comparison, and new articulation of a selection of key contemporary cognitive or information-processing-based approaches detailing the mechanisms underlying the viewing of art. We review six major models in contemporary psychological aesthetics. We in turn present redesigns of these models using a unified visual form, in some cases making additions or creating new models where none had previously existed. We also frame these approaches in respect to their targeted outputs (e.g., emotion, appraisal, physiological reaction) and their strengths within a more general framework of early, intermediate, and later processing stages. This is used as a basis for general comparison and discussion of implications and future directions for modeling, and for theoretically understanding our engagement with visual art.
... 7은인체에 동물의 얼굴 형태를 결합하여 인간과 동물의 혼성체로 표현하고 있으며Fig. 8은인간과 동물의 형상을 겹치게 하여 현실과 환상이 병치된 것 같은 형상으로 모호한 정체성을 표현하고 있다.(Arnheim, 1966(Arnheim, /1984). 반대로 복잡성은 공간을 구성하는 각 부분 간의 관계가 다양하다는 것을 말한다. ...
Indeterminacy maintains that the simultaneous measurement of object location and speed is theoretically impossible. This study present indeterminacy as a theoretic tool to interpret a variety of expression characteristics that seem disorderly in recent fashion illustrations; in addition, it analyzes the characteristics and meaning of indeterminacy as expressed in fashion illustrations. This study reviews concepts and related theories on indeterminacy to examine characteristics of indeterminacy expressed in the arts and fashion; subsequently, indeterminacy characteristics found in fashion illustrations are analyzed. In expressing the fashion figure, indeterminacy finds expression in a distorted figure transformations that include a hybridized combination of heterogeneous forms that dismantle and reconstruct the human body. The hybridized body of combined machines, animals and plants indicates an indeterminate body endlessly transforming itself. Indeterminate space expression finds expression in space expression by projection with the overlapping and juxtaposition of irrelevant constituent elements as well as a space expression from the insertion of unexpected images. An unclarified inconclusive open space provides space with fluidity, causes space expansion and conveys inconclusive meaning. Indeterminate expressions found in fashion illustrations reveal the ambiguity and complexity of a post-modern society with polysemous aesthetic values and the expanded visual concepts of fashion illustrations.
... Research on this issue has taken two distinct though not necessarily mutually exclusive paths. One path is that of experimental psychology and aesthetics, which focuses on the material object (e.g., a painting) as the work of art and finds the aesthetic effect directly in its perception (Arnheim, 1966(Arnheim, , 1974Parker & Deregowski, 1990). Because the immediate origins of pictorial art lie in the visual process itself, it is possible to address the generation of purely visual factors as the determinant of aesthetic effects. ...
The present study assessed the dynamic person-object relationship in pictorial perception as associated with a high-level experience like the aesthetic. A series of experiments was designed to gain insight into the complexities of self-world interactions involving the perceptual experience, which is the basis of artistic communication. Participants were asked to produce line drawings, which were then ranked by a larger group of participants as to whether they conveyed expressive contents. This resulted in considerable agreement among the judges. In addition, the factor structure of the semantic differential responses was determined. The results indicated that considerable semantic space existed between them. A theory of a linkage between affective and cognitive processes in perceptual experience is proposed.
Architects need to consider daylight as an important element in their designs, which are shaped by location, climate, and directions, no matter what type of building. In order for the functions to be realized in the spaces in the building to be realized in comfortable conditions, the illumination levels specified in the standards must be provided. Issues such as the dimensions of the openings that will allow direct or indirect sunlight to be designed on the outer surface of the space, and the determination of the dimensions of the windows and doors to be used are discussed in architecture. The geography, climate, and topography of the building should be examined in terms of daylight. The direction in which the building is located should be chosen according to human comfort as much as possible. In the designs, the texture of the surfaces and the amount of daylight taken into the space by reflecting or refracting from these surfaces should be calculated. In this study, while examining the effects of daylight on residential design, well-known architects of the recent period who used daylight as an architectural element in their designs were examined. Architects such as Le Corbusier, Steven Holl, and Tadao Ando, who incorporated daylight into their work, succeeded in transforming the indoor environment into an architectural space with daylight. In this way, they have achieved different and original results in their building designs. Since the architects who are the subject of this study use daylight as a design principle, it has been seen that the houses-villas belonging to these architects have reached more original designs thanks to the use of daylight. For this reason, it has been observed that these types of residences-villas are preferred more by the users.
One of the more important aspects of vision is color perception, which involves aesthetic and psychological responses. The aim of this study is to understand the association between color and visual complexity in abstract images. It is hypothesized that, as the intelligibility of colors in an abstract image decreases, visual complexity and visual interest will increase until there is over unintelligibility where complexity and interest will decrease. In addition, as the difficulty in distinguishing the rules and the variety of colors used in images increases, visual complexity and visual interest will also increase. Abstract images are selected since they are independent from the visual references of the actual world, and are basics of art and architecture. The results revealed that images that were evaluated as visually complex and interesting were the ones that they had difficulty in finding a color harmony and indicate a huge variety of colors to the extent that differentiation between hues becomes very difficult.
In this article, I present a reexamination of the myth of inherent creativity in early childhood to elucidate how still-dominant discourses of optimization such as child development, individualism, expression, creativity, and visual realism exert limiting pressures on understandings of the art and visual culture that children consume and create. The article contributes to a repositioning of young children’s art and visual culture as legitimate sites of cultural and knowledge production in order to ameliorate a restrictive view of child art in which children’s art is characterized as either pure expression or a movement through stages toward visual realism.
In this book the focus is on the receiver. Cognition is a mental processing model used in cognitive psychology. It establishes that our working memory is limited to five to seven “chunks” of information. Our attention must frequently be refreshed, and recalling information requires more cognitive effort than recognizing information. We see, hear, and taste cohesive and unified information. Cognitive principles denote one of the four groups of message design principles; facilitating attention, facilitating perception, facilitating processing, and facilitating memory. Guidelines based on these principles will assist the information designer to design information and learning materials that are well suited for the intended receivers. How we actually create meaning is an area where a lot of research is still needed. Complicated language, in both texts, pictures and graphic form will impair the understanding of any intended message. Information materials providing the wrong information may actually give a negative result, and the receiver may end up less competent than before.
Ellen Dissanayake highlights a theory that making art is a biological response to a need to “write ourselves” onto the surface of the world, and to find there the material manifestations of both yearning and completeness. Those symbols act as a feedback loop between internal and external realities. Bill Richards turned this theory (30 years before Dissanayake’s writing) into praxis after an event as a graduate student at Indiana University, long before working with adolescents with physical disabilities. In a drawing course he taught for nonart majors, he was perplexed by an unresponsive female student who had never made art before and was not interested in trying. Richards did what he could to stimulate her interest, but without success. On a cold morning (the class started at 8:00 A.M.), Richards asked if anyone might like to travel to a farm outside Bloomington. The only hand that went up was the recalcitrant girl’s. Perhaps her interest was piqued because she lived on a farm. The students piled into cars and spent the chilly day drawing outside. Returning to the classroom, the students displayed their drawings for critique. Among the drawings of landscapes, fences, and trees was a magnificent drawing of a cow. “Who did this?” Richards wondered out loud. The girl’s hand went up. This incident changed his life, as it appeared to change hers. She began to care for her appearance, which had been disheveled, and participate in the coursework.
In this paper we discuss the history of Japanese psychology of fine arts and aesthetics across five distinct periods: (a) the first expansion of arts psychology research (1907-1932); (b) children's drawings and Gestalt psychology (approximately 1932-1947); (c) the second expansion of arts psychology research, the psychoanalysis of art and art as a target for Gestalt and social psychology (1948-1967); (d) art therapy and the psychology of aesthetics using the semantic differential method and factor analysis (approximately 1968-1996); and (e) the third expansion of arts psychology research, Kansei and neuroaesthetics (1996-). Japanese arts psychology has been altered by the reformation of the discipline, and by the implementation of new methods and theories from overseas. The research targets, such as traditional arts (calligraphy, rock gardens, etc.) and pop culture ("Kawaii," "Hello Kitty," etc.), have appeared as Japanese original contributions to the psychology of the arts.
This chapter examines the temporal, narrative, and cognitive structures of savoring, focusing in particular on Si-Kong Tu’s (837–908) formulation of aesthetic savoring. I point out the wide-ranging implications of savoring for the narrative-based theory of emotion, dual process theory, emotion regulation, and self-reflection. I also examine savoring’s contribution to self-regulation and the authentic self, focusing especially on its implications for problems in self-regulation such as self-deception and self-alienation.
Raceway has been a popular exhibit at the Children’s Museum in Boston, Massachusetts, for many years. It is a collection of different games in which visitors roll golf balls down the tracks of several different configurations. Roller coaster, Ski jump, the big U are titles of some of these games that also describe the shape of the track. Visitors release a golf ball at the top of these tracks and excitedly watch as the ball rolls up and down the hills and valleys or rolls back and forth before it stops. At several of these games, an interesting type of behavior can sometimes be observed. One structure is a large barrel about 2.5 ft in diameter and 3 ft tall. A track is attached around the perimeter of the barrel forming a spiral. A ball released at the top moves around the spiraling track picking up speed along the way.
Creativity and technology share linguistic roots in "art, craft, making and method". But a more compelling substrate, increasingly evident in gaming culture, links the two. In the notion of Spielraum-- room-for-play-- a common ground of emergent possibility may be discerned. This interactive space of memory, thought, affect and sensory perception allows the mind to wander creatively, i.e. purposefully and at the same time playfully. Integrating non-methods of play and chance (two variants of spiel) with goal-directed activity, this paper proposes, is an important way to foster creative problem solving across disciplines.
A substantial amount of research on political behavior is grounded in theories of perception and cognition. However, the misguided or incomplete application of basic principles of perception and cognition has produced confusion in a number of key assumptions, measures, and concepts pertaining to political behavior. Some ambiguity in the formulation of complex behavioral problems is to be expected, but confusions that are caused by problematical assumptions, unreliable measures, and vague concepts can be resolved in fairly straightforward ways.
This chapter makes the case for two aspects of visual literacy that the authors believe to be generally overlooked: (1) that visual literacy occurs by way of a developmental trajectory and requires instruction as well as practice, and (2) that it involves as much thought as it does visual awareness and is an integral component of the skills and beliefs related to inquiry. This chapter roots these ideas in the theory and research of cognitive psychologist Abigail Housen, coauthor of Visual Thinking Sttategies (VTS) with museum educator Philip Yenawine. Housen identified aesthetic stages that mark the development of skills helping to define visual literacy. Her research is also the basis of VTS, a method of engaging learners in deep experiences looking at art and discussing meanings with peers, a process that, this chapter posits, furthers visual literacy. This chapter presents that body of research and details the resulting VTS protocol. It reviews academic studies to date, subsequent to Housen, that document the impact of VTS interventions in various settings, and suggests beneficial areas for future research. In order to probe what development in visual literacy looks and sounds like on a granular level, two case studies of student writing from existing studies are presented and analyzed. Visual literacy skills enabled by VTS are briefly connected to broader educational concerns.
The purpose of this theoretical article is to provide an extended definition of creativity that embraces potential cross-cultural variations in this construct. Creativity is defined as a 4-criterion construct, which includes attributes of novelty, utility, aesthetics, and authenticity. Novelty attribute stipulates that a creative work brings something new into being, which presents a new conceptual framework and/or modifies or violates an existing one. Utility attribute stipulates that a creative work is what a producer or a recipient considers creative, what represents an important landmark in spiritual, cultural, social, and/or political environment, and what addresses moral issues. The aesthetics attribute stipulates that a creative work presents the fundamental truth of nature, which is reflected in a perfect order, efficiently presents the essence of the phenomenal reality, and is satisfactorily complex, expressing both tension and intrinsic contradiction. Authenticity attribute stipulates that a creative work expresses an individual's inner self and relates one's own values and believes to the world. These attributes establish a comparison matrix, which can be used to evaluate and compare the levels of creativity of works from different areas of human endeavor.
In the study of art, the philosophical tradition, and important assumptions within this tradition, forms the basis for psychological conceptions and cognitive models of art perception, implicit goals and approach to art-viewing, and their application to art education and viewer relations. However, the prevalent philosophical conception of art and aesthetic experience, which share the assumption that success or "cognitive mastery" drives aesthetic perception, contains fundamental flaws, which extend to, and ultimately constrain, the study and application of art. While existing conceptions explain how a viewer masters the environment, based upon prior expectations and abilities, they cannot explain how they come to perceive and be transformed by, something new; nor can they account for how this feels. Yet, it is exactly these qualities in art-perception that both philosophers and social scientists agree constitutes the unique "challenge" of art. It is necessary that this be examined, and a solution considered, building from the philosophical basis and then extended to a psychological discussion. We argue that, in opposition to success, a failure- based model, organized around the conflict between self-protection and self-transformation in the processing of discrepancy, is better able to explicitly unite cognition, emotion and physiological effect with perception and evaluation; and allows for needed discussion of perceptual and conceptual change within experience, and a needed distinction between "facile" evaluation and mastery following meta-cognitive reflection and adjustment. We explore both success and failure-based approaches and introduce conceptual and contextual aspects for a five-stage failure-based model of art-perception culminating in "Aesthetic Experience"; discuss the inter-relation of emotional and cognitive factors that may be important for objective research on art evaluation and art education; and clarify the important tie between failure, epiphany and perceptual growth in the experience of art.
Visual aesthetic preferences seem to be based upon a judgmental mechanism that processes non verbal cues. Yet the usual methods for measuring these cues are verbal. A nonverbal method for identifying and measuring the component cues present in slides of nonrepresentational paintings is described. The method was used to develop pic torially anchored scales that were easy for subjects to use and that elicited reliable cue ratings.
This paper presents a study on spatial construction in relation to chants and cathedrals in the medieval period. First, studies on musical space in relation to visual space are surveyed. The gestalt notions of figure and ground are then described. These are used as a basic tool for an analysis of how cathedral arches of the nave were assembled vertically with regard to musical sound. From a formal analysis it is found that the vertical spatial construction of chants and that of naves in medieval cathedrals display a similar pattern.
Presents a now-oriented gestalt approach toward recognizing and encouraging organized and nonconventional forms of musical structure in a workshop setting. Nonmusicians, given a permissive context and encouragement, can express themselves musically with easy to play instruments. The interaction of the workshops leads to a cooperative effort in which each individual's musical expression is related to the central endocept or unifying musical mood. It is suggested that we can surprise ourselves with our own artistic ability and power of creative expression. (12 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
In this chapter, we examine how creativity develops across the life span in four discrete domains: the arts, the sciences, political leadership, and moral leadership. We address four themes: how creativity and leadership have been studied; the contributions and limitations of those conceptual and methodological approaches; ways a developmental framework based on dynamic interactions among talented individuals, fields of powerful gatekeepers, and domains of knowledge illuminates the emergence of extraordinary achievements; and the indicators of creativity and leadership in childhood, adolescence, and early adulthood. The chapter is divided into eight sections. We summarize the history of achievement research from general intelligence testing to multiple intelligences, expertise, creativity, leadership, morality, and personality perspectives. We outline the definitional, developmental, domain-specific, and methodological issues currently facing researchers. We describe the developmental-systemic framework we employ to synthesize empirical findings in the four domains cited previously. Within each domain, we present what is known about ordinary development, and then highlight markers that suggest a leap to extraordinary accomplishment. We conclude with an analysis of differences and similarities among the developmental pathways of the four domains and propose lines of further research.
In this paper the development of creative imagination into a higher mental function is discussed from a viewpoint that synthesizes the theories of Freud, Piaget, and L.S. Vygotsky. Imagination is regarded as the internalization of children's symbolic play, guided and regulated by inner speech (internalized social dialogue). Beginning during adolescence and continuing into later adulthood, imagination works along with thinking in concepts to produce mature artistic and scientific creativity. The ability of the visual artist to utilize perceptual resemblances as the basis for semiotic devices in visual art is discussed as an example of the mature collaboration between analogical thinking, characteristic of symbolic play, and logical thought. Preliminary research with a creativity test, discussed relative to the research findings of Harvard University's Project Zero, suggests that creativity peaks in adulthood.
To identify and characterize early instances in which children attribute meaning to their drawings, scribbles of 2- to 3-year-olds were examined from kinematic and representational perspectives. Scribbles were shown to be composed of smooth-inertial and angular-intentional curves, the former revealing a systematic relation between curvature and speed (the 2/ 3 power law). Children tended to attribute a-posteriori representational meanings (e.g., an airplane) to angular curves and nonrepresentational meanings (e.g., a line) to smooth curves, that they have just finished drawing. They did not do so with reference to scribbles drawn by peers, by themselves in the past, or by the experimenter who imitated their scribbling. Children's attribution of representational meanings increased with age. The phenomenon studied was discussed as a possible precursor of preplanned representational drawing, indicating the child's awareness of the symbolic function of a line—standing for itself and signifying a referent.
The theory of Glass patterns naturally combines three essential aspects of painterly artworks: perception, randomness, and
geometric structure. Therefore, it seems a suitable framework for the development of mathematical models of the visual properties
that distinguish paintings from photographic images. With this contribution, we introduce a simple mathematical operator which
transfers the microstructure of a Glass pattern to an input image, and we show that its output is perceptually similar to
a painting. An efficient implementation is presented. Unlike most of the existing techniques for unsupervised painterly rendering,
the proposed approach does not introduce ’magic numbers’ and has a nice and compact mathematical description, which makes
it suitable for further theoretical analysis. Experimental results on a broad range of input images validate the effectiveness
of the proposed method in terms of lack of undesired artifacts, which are present with other existing methods, and easy interpretability
of the input parameters.
ResearchGate has not been able to resolve any references for this publication.