Zeitschriftenartikel: „Perception of art“

1

Young, Bernard. „Children' Perception about Art“. Art Education 38, Nr. 6 (November 1985): 47. http://dx.doi.org/10.2307/3192879.

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2

Herman, Amy E. „The Art of Perception“. Journal of Museum Education 36, Nr. 1 (März 2011): 81–89. http://dx.doi.org/10.1080/10598650.2011.11510686.

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3

Pawlik, Jacek Jan. „Perception/Reception“. Roczniki Kulturoznawcze 13, Nr. 4 (31.12.2022): 145–47. http://dx.doi.org/10.18290/rkult22134.20.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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Pavia, Luke, Simon Grima, Inna Romanova und Jonathan V. Spiteri. „Fine Art Insurance Policies and Risk Perceptions: The Case of Malta“. Journal of Risk and Financial Management 14, Nr. 2 (06.02.2021): 66. http://dx.doi.org/10.3390/jrfm14020066.

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The aim of this paper is to identify the risks that need to be addressed when holding fine art, determine which are perceived as being the most important, and whether the risk perception is influenced by demographic variables such as age, educational background, and field of occupation. To identify the risks and evaluate the risk perception, we used a purposely designed questionnaire and sent it via various sources of communication systems and applications to individuals knowledgeable on fine arts. Findings revealed that, generally, art deterioration, art fraud, and art theft are the three main highlighted risks, with art deterioration considered in the high-risk range. In terms of risk perception, forgery is the biggest concern. On the other hand, considerations of the investment value of art lessened perceived risk exposure. Furthermore, the study has shown that certain risk perceptions were influenced by the participants’ demographic variables. Both the identified risks and risk perception considerations analyzed within this study provide us with insights as to what needs to be considered when offering fine art insurance, particularly when it comes to which risks that are perceived as being the most pressing by potential policyholders, and how these perceptions vary according to individual demographics variables as noted above.

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MacQueen, J. C. „Pure Perception: God as Art“. International Journal of Religion and Spirituality in Society 1, Nr. 1 (2011): 45–56. http://dx.doi.org/10.18848/2154-8633/cgp/v01i01/51192.

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6

Gorglione, Nancy, und Brigitte Burgmer. „Holographic Art: Perception, Evolution, Future“. Leonardo 22, Nr. 3/4 (1989): 439. http://dx.doi.org/10.2307/1575414.

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7

Nadaner, Dan. „Teaching Perception through Video Art“. Art Education 61, Nr. 1 (Januar 2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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8

Jacquette, Dale. „Art, Expression, Perception and Intentionality“. Journal of Aesthetics and Phenomenology 1, Nr. 1 (Mai 2014): 63–90. http://dx.doi.org/10.2752/20539339xx14005942183973.

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9

Edensor, Tim. „Light Art, Perception, and Sensation“. Senses and Society 10, Nr. 2 (04.05.2015): 138–57. http://dx.doi.org/10.1080/17458927.2015.1042228.

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10

Sasmita, Husni. „Persepsi Siswa terhadap Kurikulum 2013 Mata Pelajaran Seni Budaya Pada Kelas VII.3 di SMP Negeri 13 Pekanbaru Tahun pelajaran 2016/2017“. Instructional Development Journal 1, Nr. 1 (30.06.2018): 22. http://dx.doi.org/10.24014/idj.v1i1.6417.

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This study aims to determine and describe student perceptions towards the 2013 curriculum on art and culture subjects (music arts) in Public Middle School 13 Pekanbaru. The perception in question is the response of students to the 2013 curriculum in the eye art and culture lessons (music arts). Based on the results of this study, it can be concluded that students in the State Junior High School 13 Pekanbaru in the 2016/2017 school year have a good perception 2013 curriculum. This is evidenced from 40 respondents, there are 10 students (25%) have a good perception, 18 students (45%) have fairly good perceptions high and there are 9 students (22.5%) who have poor / less high perceptions, 3 students (7.5%) have very poor perceptions.

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Lucas, Tamara. „The art of perception: pointillism, pattern, and Optical art“. Lancet 390, Nr. 10102 (September 2017): 1579. http://dx.doi.org/10.1016/s0140-6736(17)32488-1.

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12

Sawitri, Anak Agung Sagung, I. Nyoman Sutarsa, Tuti Parwati Merati, Made Bakta und Dewa Nyoman Wirawan. „Perceptions dynamics about antiretroviral treatment among HIV patients in Bali“. International Journal of Public Health Science (IJPHS) 10, Nr. 3 (01.09.2021): 500. http://dx.doi.org/10.11591/ijphs.v10i3.20917.

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Perceptions of people living with HIV and AIDS (PLHIV) about antiretroviral treatment (ART) is crucial for improving adherence. This study aims to examine the dynamics of perceptions during the early phase of ART. A longitudinal study involving newly diagnosed PLHIV was conducted. Interviews were carried out at the time of HIV diagnosis and at three months after ART initiation. Data were analyzed by comparing proportion of good perception across the continuum of HIV diagnosis, ART initiation and threemonths follow-up, and were tested using Chi-square. From 170 PLHIV participated in the study, 81.76% had initiated ART and 73.4% remained on ART at three-months of follow-up. Several positive perception items were significantly decreased: ability to take ART at work and ability to continue treatment if experiencing side effects, effectiveness of ART, confidentiality, unwanted disclosure, and level of support from outreach workers. Ability to follow instruction from physician was significantly increased, and negative attitudes toward ART were decreased across the continuum. Adherence to ART is a continuous process, and is influenced by the dynamics perceptions among PLHIV. Understanding these dynamics is crucial to formulate strategies that can promote and maintain positive attitudes toward ART as well as living with HIV more broadly.

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Amanullah, Juni, und Fivin Bagus Septiya Pambudi. „“PSIKOLOGISENI” SENIMAN ANTARA PERSEPSI, FANTASI DAN EMOSI“. SULUH: Jurnal Seni Desain Budaya 4, Nr. 1 (02.02.2021): 89–103. http://dx.doi.org/10.34001/jsuluh.v4i1.2422.

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In the science of human psychology is a creature that has a soul and in a life that has a soul that is reflected in human behavior and activities in their daily lives. Beauty or aesthetics is something that is related to something beautiful and a special taste in enjoying it. In art life when an artist feels a lot of what is inside him, the results will be divested into a work of art. From the two disciplines of science between psychology and art, the writer uses psychological methods, namely perception, fantasy, feeling and emotion to dissect in the life of art with a subject, namely artists. Perception in the world of art by artists is the act of compiling, recognizing, and interpreting sensory information in order to provide a picture and understanding of the environment in the world of art. Artist's fantasy is something that is related to imagination or something that only exists in the mind or mind to be poured into a work of art. Artist's emotion is a feeling (intense / frequent) aimed at something more physical, that is, a work of art, the artist's emotions are expressed as a reaction to the results of an artist's perceptions and fantasies.

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Kolisnyk, O. V., und M. O. Kovalenko. „NAIVE ART: FEATURES OF CREATIVE PERCEPTION“. Art and Design, Nr. 3 (13.12.2021): 45–53. http://dx.doi.org/10.30857/2617-0272.2021.3.4.

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The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the components of the development of the given tendency have been studied. On the example of Ukrainian naive art representatives, the characteristic features of the artists of this direction were defined. The urgency of the application of artistic images of naive in the realities of contemporary design is underlined. The scientific novelty. The category of artistic and compositional features of this kind of art in the works of Ukrainian naïve artists have been investigated, the characteristic visual techniques of this artistic direction, which are actual for the application in the modern design projects, have been determined. Practical significance. The identified features of the concept of naive, originality of creative implementation of this trend can contribute to the further research of this topical for the design of postmodern art form, and become a part of the discipline of art studies of students-designers to enhance their competitiveness in creating a visual culture of the modern society on the basis of images close to the national mentality.

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Vasilishina, Elena Nikolayevna. „Subjective Aspects of Art Discourse Perception“. Izvestiya of Saratov University. New Series. Series: Philology. Journalism 13, Nr. 2 (2013): 20–24. http://dx.doi.org/10.18500/1817-7115-2013-13-2-20-24.

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16

Thompson, Currie K. „Perception and Art: Water Imagery inNada“. Kentucky Romance Quarterly 32, Nr. 3 (Januar 1985): 291–300. http://dx.doi.org/10.1080/03648664.1985.9928310.

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17

Wilson, Amanda. „Multistable Perception of Art-Science Imagery“. Leonardo 45, Nr. 2 (April 2012): 156–64. http://dx.doi.org/10.1162/leon_a_00282.

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How do artists, scientists and artist-scientists view images, and how does their cultural background affect their interpretation? The author proposes that artist-scientists may exhibit cultural multistability, akin to the perceptual multistability associated with viewing visual illusions such as the Necker cube. After carrying out a survey, the author suggests that all individuals may exhibit cultural multistability in response to a challenging image. The author postulates a tendency of artist-scientists to use textural descriptions and discusses coming to see her own images in a new light.

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Albers, Lucia H. „The Perception of Gardening as Art“. Garden History 19, Nr. 2 (1991): 163. http://dx.doi.org/10.2307/1586892.

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19

Pahomov, George S. „Essential Perception: Čechov and Modern Art“. Russian Literature 35, Nr. 2 (Februar 1994): 195–202. http://dx.doi.org/10.1016/0304-3479(94)90032-9.

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20

Benjamin, Garfield. „Indistinguishable from Magic: Perception, Knowledge, Technology, Art“. Leonardo 53, Nr. 5 (Oktober 2020): 510–14. http://dx.doi.org/10.1162/leon_a_01739.

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The term magic has long been associated with both technology and art. Whether an illusion performed on stage or the search for the supernatural, magic is concerned with changing either reality itself or our perception of it. Each new technology takes on a magical role by increasing humans' power to manipulate the world around them. Similarly, magical practices are often labeled arts, and the manipulation of our perceptions by artists often creates quasi-magical experiences. Four approaches to magic in relation to digital art practice—illusionist, alchemist, necromancer and sorcerer—offer a mode of understanding the manipulation of perceptual reality by artists using digital technologies. The framework will then be applied to five such practitioners—Pascal Dombis, Anne-Sarah Le Meur, Antoine Schmitt, Dmitry Morozov and Zaven Paré—who demonstrate the quest for the unknown and the manipulation of knowledge to create a new reality.

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Miralay, Fatma, und Ziynet Egitmen. „Aesthetic perceptions of art educators in higher education level at art classes and their effect on learners“. Cypriot Journal of Educational Sciences 14, Nr. 2 (30.06.2019): 352–60. http://dx.doi.org/10.18844/cjes.v14i2.4242.

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The objective of this study is to examine the aesthetic awareness of art education academicians working in different higher education institutions of Turkish Republic of Northern Cyprus. Qualitative method and descriptive analysis were used in the study. A semi-structured interview form was created to reveal the views of academicians, and interviews were conducted to determine the levels of aesthetic competence with art education. The results of the research reveals that there is a relatively high level of aesthetic competence among the art educators who participated in the study. The participants emphasised that the theoretical structure of art classes can encourage students' creativity and aesthetic perceptions as well as awareness. In addition, the proficiency level of aesthetics may be directly related to the quality of art education curricula of the faculty. As a result, aesthetic perception levels not only help to improve students'success but also enable them to create artworks and motivate students' performance in creating artworks. Keywords: Art, aesthetic, perception, fine arts, higher education, Cyprus.

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Stroeva, Olesya Vitalyevna. „The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art“. Journal of Flm Arts and Film Studies 7, Nr. 1 (15.03.2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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23

Park, Sangwoo. „Aerial Image's Influence on Modern Art : Perception, Sensation, Avant-Grade Art“. Korean Association for Visual Culture 39 (31.12.2021): 5–32. http://dx.doi.org/10.21299/jovc.2021.39.1.

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24

Caws, Mary Ann. „Perspectives on Perception: Philosophy, Art, and Literature“. Journal of Aesthetics and Art Criticism 48, Nr. 3 (1990): 266. http://dx.doi.org/10.2307/431783.

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25

Arnheim, Rudolf. „The State of the Art in Perception“. Leonardo 20, Nr. 4 (1987): 305. http://dx.doi.org/10.2307/1578523.

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26

Hagtvedt, Henrik, Vanessa M. Patrick und Reidar Hagtvedt. „The Perception and Evaluation of Visual Art“. Empirical Studies of the Arts 26, Nr. 2 (Juli 2008): 197–218. http://dx.doi.org/10.2190/em.26.2.d.

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27

Brownlee, Peter John. „Color Theory and the Perception of Art“. American Art 23, Nr. 2 (Juni 2009): 21–24. http://dx.doi.org/10.1086/605706.

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Shobri, Nor Izana Mohd, Siti Rasidah Md Sakip und Noorlida Daud. „Public Perception Towards Graffiti Art in Malaysia“. Advanced Science Letters 23, Nr. 7 (01.07.2017): 6203–7. http://dx.doi.org/10.1166/asl.2017.9236.

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29

Stokes, Dustin. „Cognitive Penetration and the Perception of Art“. Dialectica 68, Nr. 1 (März 2014): 1–34. http://dx.doi.org/10.1111/1746-8361.12049.

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Innis, Robert E. „Perception, Interpretation, and the Signs of Art“. Journal of Speculative Philosophy 15, Nr. 1 (2001): 20–32. http://dx.doi.org/10.1353/jsp.2001.0002.

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Koenderink, Jan, und Andrea van Doorn. „Assemblage and Icon in Perception and Art“. Art & Perception 1, Nr. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.

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In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.

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Leymarie, Frederic Fol, und Prashant Aparajeya. „Medialness and the Perception of Visual Art“. Art and Perception 5, Nr. 2 (05.06.2017): 169–232. http://dx.doi.org/10.1163/22134913-00002064.

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In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.

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Bradley, Richard. „Rock Art and the Perception of Landscape“. Cambridge Archaeological Journal 1, Nr. 1 (April 1991): 77–101. http://dx.doi.org/10.1017/s0959774300000263.

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Studies of the prehistoric landscape are best suited to the analysis of sedentary communities with enclosed resources. Studies of prehistoric art show different limitations, especially an excessive subjectivity. This paper attempts to bring these areas of research together by considering the changing content of rock art in relation to topography, the movement of people in the cultural landscape, and the operation of specialized kinds of monument. The characteristic designs found in the open air are analyzed in terms of their organization and visual impact, and the results of this pilot study are employed in a more detailed assessment of the positioning of prehistoric petroglyphs in two areas of Neolithic/Early Bronze Age Britain: Northumberland and Mid Argyll.

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Ishai, Alumit, Scott L. Fairhall und Robert Pepperell. „Perception, memory and aesthetics of indeterminate art“. Brain Research Bulletin 73, Nr. 4-6 (Juli 2007): 319–24. http://dx.doi.org/10.1016/j.brainresbull.2007.04.009.

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35

Coney, Jeffrey, und Christine Bruce. „Hemispheric Processes in the Perception of Art“. Empirical Studies of the Arts 22, Nr. 2 (Juli 2004): 181–200. http://dx.doi.org/10.2190/39en-ycvm-m30k-w6h8.

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36

Zimmer, Robert. „Abstraction in art with implications for perception“. Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, Nr. 1435 (29.07.2003): 1285–91. http://dx.doi.org/10.1098/rstb.2003.1307.

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The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both a culture's ways of perceiving the world and its ways of remaking the world it perceives. The purpose of this paper is to indicate ways in which a study of abstraction in art can be used to discover insights into, to quote the call for papers for this issue, ‘our perception of the world, acquired through experience’ and ‘the way concepts are formed and manipulated to achieve goals’.

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Dokic, Jérôme. „Knowledge, perception, and the art of camouflage“. Synthese 194, Nr. 5 (08.05.2015): 1531–39. http://dx.doi.org/10.1007/s11229-015-0758-5.

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38

Schmidt, Filipp. „The Art of Shaping Materials“. Art and Perception 8, Nr. 3-4 (28.10.2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, often by carving them from a single block of marble or wood. Vision research has just begun to investigate these very shape features, making material perception a prime example of how art can inform science.

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Campaner, Miguel. „Cinema and architecture: Modern perception“. SAJ - Serbian Architectural Journal 11, Nr. 3 (2019): 511–18. http://dx.doi.org/10.5937/saj1903511c.

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Walter Benjamin's essay on cinema expounds his prognostic values. By the time he wrote this article his critique of the capitalistic mode of production showed the direction in which capitalism was progressing: towards an increasing intensity in exploitation of the proletariat, but also its own decline. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role and the dislocation of the aura. The form of art that is suitable to this reflection is cinema and the parallel drawn by the philosopher between cinema and architecture. Our intention is to reflect on this parallel and the urban interventions as artistic forms of aesthetic modernity: that is, as products of this modernity that at the same time indicate the way the world is given to us and understood by us. We will also reflection cinema and theatre indications as a way to surpass corporal determinations that are imposed on us.

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Cela-Conde, Camilo J., Gisèle Marty, Enric Munar, Marcos Nadal und Lucrecia Burges. „The “Style Scheme” Grounds Perception of Paintings“. Perceptual and Motor Skills 95, Nr. 1 (August 2002): 91–100. http://dx.doi.org/10.2466/pms.2002.95.1.91.

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We studied the formation of style scheme (identification of the style that characterizes an artist) presenting 100 participants aesthetic visual stimuli. Participants were Spanish university students who volunteered: 72 women, 28 men of mean age 22.8 yr. Among those 50 were enrolled in History of Art and 50 students in Psychology. Stimuli belonged to different categories—High Art (pictures of well-known artists, like Van Gogh)/Popular Art (decorative pictures like Christmas postcards) and Representational (pictures with explicit meaning content, like a landscape)/Abstract (pictures without explicit meaning content, like Pollock's colored stains). Analysis using Signal Detection Theory techniques focused on how participants discriminate representational and abstract pictures. With High An stimuli, participants can better discriminate representational paintings than abstract ones. However, the difference in discrimination between representational and abstract pictures diminishes among participants studying History of Art. It seems that prior education in art favors forming style schemes and to some extent enables the participant to detect the “meaning” in High Art abstract paintings.

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Nurke, M. S. „The Effectiveness of Using Visual Art Tools in Noosphere Education: An Example of Determining Motivation to Perceive“. Pedagogy and Psychology 48, Nr. 3 (15.09.2021): 130–41. http://dx.doi.org/10.51889/2021-3.2077-6861.15.

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The article considers the introduction of the concept of "visual art" into the Kazakh language, in the context of the history of world contemporary art and and the trends of its development, also relevance and preparing students for the "perception of visual art". Based on the scientific works of noosphere education which investigated the evolution of the formation of the brain contour as levels of human thinking, the author offers a "sequential chain of visual art perception", defining "internal needs" (motivations) and "external needs" of students in visual perception. "Brain contour level, thinking" and "visual art perception chain" are seen as important tools in selecting a topic and in determining students' uniqueness. The practical research examines the methods of noospheric education as the perception of all sense organs in the "transformation of traditional decorative art" and the effectiveness of using the tools of "contemporary art" in the formation of new ideas and new thinking.

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Desa, Noor Enfendi, Noor A'yunni Muhamad, Syed Alwi Syed Abu Bakar und Azian Tahir. „Perception on Si + Sa as a Theme in a Work of Art Entitled “Free Memories”“. Idealogy Journal 6, Nr. 2 (01.09.2021): 91–97. http://dx.doi.org/10.24191/idealogy.v6i2.302.

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The effects from thinking will result in the production of perception. This perception exists in both positive and negative situations. It focuses on the cognitive that explains how human brain responds to the perceptions received from their respective methods of understanding. The exhibition of “Kami 8: SI + SA" has managed to exhibit creative artwork produced by academic staffs from the Faculty of Art and Design UiTM Perak, with the appreciation of the theme "SI + SA" will change the way of delivery or meaning, according to the circumstances and methods of individual personal perception. The research design is based on J.J. Winklemann in producing art works. Data collection consisting of sampling and equipment based on ideal imagery observation methods. Also, samples and equipment were analyzed based on the production of the proposed artwork based on the studio-based research. The artwork "free memories" is produced based on perception and understanding by the author translating in visual form.

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Mah, Youn-Kyoung, und Na-Young Lim. „A Study on Art Therapist’s Perception of Language Use in Art Therapy“. Journal of Arts Psychotherapy 14, Nr. 3 (30.09.2018): 23–42. http://dx.doi.org/10.32451/kjoaps.2018.14.3.023.

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Seth, Anil K. „From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience“. European Review 27, Nr. 3 (14.06.2019): 378–410. http://dx.doi.org/10.1017/s1062798719000061.

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Science and art have long recognized that perceptual experience depends on the involvement of the experiencer. In art history, this idea is captured by Ernst Gombrich’s ‘beholder’s share’. In neuroscience, it traces to Helmholtz’s concept of ‘perception as inference’, which is enjoying renewed prominence in the guise of ‘prediction error minimization’ (PEM) or the ‘Bayesian brain’. The shared idea is that our perceptual experience – whether of the world, of ourselves, or of an artwork – depends on the active ‘top-down’ interpretation of sensory input. Perception becomes a generative act, in which perceptual, cognitive, affective, and sociocultural expectations conspire to shape the brain’s ‘best guess’ of the causes of sensory signals. In this article, I explore the parallels between the Bayesian brain and the beholders’ share, illustrated, somewhat informally, with examples from Impressionist, Expressionist, and Cubist art. By connecting phenomenological insights from these traditions with the cognitive neuroscience of predictive perception, I outline a reciprocal relationship in which art reveals phenomenological targets for neurocognitive accounts of subjectivity, while the concepts of predictive perception may in turn help make mechanistic sense of the beholder’s share. This is not standard neuroaesthetics – the attempt to discover the brain basis of aesthetic experience – nor is it any kind of neuro-fangled ‘theory of art’. It is instead an examination of one way in which art and brain science can be equal partners in revealing deep truths about human experience.

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Galvan, R. „EE/UU: Exquisite expression/unsettling utterance“. Cultural Dynamics 29, Nr. 3 (August 2017): 186–92. http://dx.doi.org/10.1177/0921374017727855.

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Through the act of making art and writing about it, the essay documents and expands on how Latinx is given meaning. The work draws upon personal experience and visual art research to consider observational strategies for sharing and shaping the perception of Latinx.

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V. Lubovsky, Dmitry. „The Perception of Art as a Higher Mental Function“. Revue internationale du CRIRES : innover dans la tradition de Vygotsky 4, Nr. 1 (21.09.2017): 77–79. http://dx.doi.org/10.51657/ric.v4i1.40995.

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The concept of higher mental functions applied to the perception of artworks. Considering art as a system of means for mastering of emotions and feelings, the authorshows that this interpsychic system of means for mastering the feelings and emotions through the pro-cessing of aesthetic experience is a conscious, mediated by speech and arbitrary dynamic system of artistic images perception and the processing of aesthetic experience. Perception of artworks becomes arbitrary, if a person realizes the cultural norm of relation to the arts, representing the ability and desire of the viewer to see in the artwork of thoughts and feelings appropriate to the author. The formation of art perception, like any other higher mental functions takes place in accordance with genetic law of cultural development according to which “Every function in the cultural development of the child appears on stage twice” (Vygotsky, 1983, p. 145). The author shows that the perception of art as a higher mental function is formed on the entire life through the perception of works of art and the assimilation of aesthetic experience. The approach to the analysis of perception of works of art proposed by author can ﬁnd application in di˙erent social practices, from art pedagogy to art therapy; it allows to select the period of development of this function in childhood and adolescence as requiring the greatest attention by teachers and parents. The approach is applicable also in a psychological counseling and art therapy for adolescents and adults.

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Bai, Hui. „The Exploration of Arnheim‘s Theory of Visual Perception in the Field of Art Appreciation and Review in Junior High School“. Learning & Education 9, Nr. 2 (10.11.2020): 139. http://dx.doi.org/10.18282/l-e.v9i2.1428.

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Rudolf Arnheim (German Rudolf Arnheim, 1904-2007) is a famous Gestalt psychologist and aesthetician in the history of western aesthetics. His research on the theory of visual perception plays an important role in exploring human thinking activities. Arnheim’s theory of visual perception and related research in the field of art education can provide professional and detailed theoretical support for the teaching of art curriculum appreciation and review in middle school. Through the analysis and exploration of Arnheim’s visual perception theory, this paper attempts to apply his visual perception theory to the learning field of junior high school art curriculum appreciation review. Teachers can make use of Arnheim’s relevant research results to make students understand and master art language more easily, and make full use of art language knowledge for art appreciation.

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Kim, Jeongah, und Wookjae Heo. „Interior Design with Consumers’ Perception about Art, Brand Image, and Sustainability“. Sustainability 13, Nr. 8 (20.04.2021): 4557. http://dx.doi.org/10.3390/su13084557.

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In this study, the main research purpose was to determine whether artistic components of interior design in a store lead consumers to have different perceptions of the store. There were three main research questions. The first was whether consumers perceived the artistic components in a store visually. Second, based on the first research question, this study explored whether the artistic displays at the show window, around the furniture, and around the stairs were associated with consumers’ perceptions of the store as environmental-friendly. The third research question explored how the consumers’ perceptions of artistic and environment-friendly components were associated with the conventional marketing performance of the store. The 2 Stages Probit Least Squares (2SPLS) method was utilized to answer the first and second research questions and the 2 Stage Least Squares (2SLS) method was utilized for the third research question. Findings indicated that consumers had significant emotional responses from seeing artistic components in a store. In addition, these perceived art elements were associated with marketing performances, including pro-environmental perception, store differentiation, brand image, and consumer satisfaction. The practical implications were included in the discussion.

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Uno, Kuniichi. „War of Perception, Perception of Time“. Deleuze and Guattari Studies 12, Nr. 2 (Mai 2018): 252–67. http://dx.doi.org/10.3366/dlgs.2018.0307.

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For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

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Tsymbal-Slatvinska, Svitlana, und Olga Kozii. „SPEECH DEVELOPMENT BY MUSICAL ART“. Academic Notes Series Pedagogical Science 1, Nr. 192 (März 2021): 23–26. http://dx.doi.org/10.36550/2415-7988-2021-1-192-23-26.

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The authors outlined the importance of music in speech therapy classes in order to form and develop speech and communication skills. It is proved that the use of musical art in the remedial developmental program helps to establish barrier-free communication, special trusting relationship between the pupil and the speech therapist, contact with the environment, socialization, enhancement of child`s physical and mental functions. It is indicated that the remedial support programs provide a unit of musical and rhythmic education by vocology, aimed at the development of perception, where music is used as a system aimed at correcting various forms of speech disorders. It is defined that the method of using the musical art in remedial developmental programs is based on didactic principles: systematicity (correctional and developmental program should have holistic guidelines, outlined structured and systematized model); humanity (pupil at the centre of the correctional and developmental process, its main component; the formation of the aesthetics of the inner world, positive perception of the environment and others, spiritual values, opportunities for self-realization, sense of significance, full personality), individuality (taking into account child`s individual mental and physical features, preferences, and so on), consistency and clarity (optimal load distribution; the use of various activities to develop child`s thinking, perception, observation, with regard to the prospects of their development). It is proved that the development of aesthetic perception of music, emotional and aesthetic attitude to the world, comparison and imagery, imaging parallels, distinguishing primary and secondary helps to activate the creative abilities of each pupil, create preconditions for barrier-free communication and quality interaction in the implementation of the key tasks of remedial developmental process.

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