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Artigos de revistas sobre o tema "Perception of art"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 9 de junho de 2025

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1

Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (June 22, 2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the understanding of the author’s message in the visual work of art; the artistic communication of the receptor with the author of the visual art via his/her work.   

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2

Young, Bernard. "Children' Perception about Art." Art Education 38, no. 6 (November 1985): 47. http://dx.doi.org/10.2307/3192879.

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Herman, Amy E. "The Art of Perception." Journal of Museum Education 36, no. 1 (March 2011): 81–89. http://dx.doi.org/10.1080/10598650.2011.11510686.

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Pavia, Luke, Simon Grima, Inna Romanova, and Jonathan V. Spiteri. "Fine Art Insurance Policies and Risk Perceptions: The Case of Malta." Journal of Risk and Financial Management 14, no. 2 (February 6, 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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Pawlik, Jacek Jan. "Perception/Reception." Roczniki Kulturoznawcze 13, no. 4 (December 31, 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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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, no. 1 (June 30, 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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Anak, Agung Sagung Sawitri, Nyoman Sutarsa I, Parwati Merati Tuti, Bakta Made, and Nyoman Wirawan Dewa. "Perceptions dynamics about antiretroviral treatment among HIV patients in Bali." International Journal of Public Health Science (IJPHS) 10, no. 3 (September 1, 2021): 500~507. https://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 three-months 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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Sawitri, Anak Agung Sagung, I. Nyoman Sutarsa, Tuti Parwati Merati, Made Bakta, and Dewa Nyoman Wirawan. "Perceptions dynamics about antiretroviral treatment among HIV patients in Bali." International Journal of Public Health Science (IJPHS) 10, no. 3 (September 1, 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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9

MacQueen, J. C. "Pure Perception: God as Art." International Journal of Religion and Spirituality in Society 1, no. 1 (2011): 45–56. http://dx.doi.org/10.18848/2154-8633/cgp/v01i01/51192.

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Gorglione, Nancy, and Brigitte Burgmer. "Holographic Art: Perception, Evolution, Future." Leonardo 22, no. 3/4 (1989): 439. http://dx.doi.org/10.2307/1575414.

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Nadaner, Dan. "Teaching Perception through Video Art." Art Education 61, no. 1 (January 2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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Jacquette, Dale. "Art, Expression, Perception and Intentionality." Journal of Aesthetics and Phenomenology 1, no. 1 (May 2014): 63–90. http://dx.doi.org/10.2752/20539339xx14005942183973.

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Edensor, Tim. "Light Art, Perception, and Sensation." Senses and Society 10, no. 2 (May 4, 2015): 138–57. http://dx.doi.org/10.1080/17458927.2015.1042228.

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Amanullah, Juni, and Fivin Bagus Septiya Pambudi. "“PSIKOLOGISENI” SENIMAN ANTARA PERSEPSI, FANTASI DAN EMOSI." SULUH: Jurnal Seni Desain Budaya 4, no. 1 (February 2, 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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Lucas, Tamara. "The art of perception: pointillism, pattern, and Optical art." Lancet 390, no. 10102 (September 2017): 1579. http://dx.doi.org/10.1016/s0140-6736(17)32488-1.

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Nale, Katie. "Twisted Perception." Lighting Design + Application 50, no. 9 (September 2020): 34–38. https://doi.org/10.1177/036063252005000910.

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17

Sırmalı, Evrim. "Sanat Eğitiminde Algı Çeşitliliğinin Gestalt İlkeleri ile Uygulanması." Uluslararası Sanat Tasarım ve Eğitim Dergisi 1, no. 1 (December 20, 2020): 17–24. https://doi.org/10.5281/zenodo.7360142.

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Man needs sensations in order to survive in the environment he is in. In order to realize artistic expression and understanding, everyone needs to do different things from what they feel. It is important to recognize and remember the warnings coming from the environment, people, objects and symbols. The formation of visual information through perceptions varies according to individuals and personal experiences. It has been observed that students studying in the field of plastic arts primarily use their visual perceptions, but a one-way perception accumulation is not enough to develop their creativity. During the education process, it is seen that the curriculum supports “Visual Perception” with the help of different courses. In the development of motor skills and memory; It is important to direct hand-eye-brain coordination correctly. Enrichment of the diversity of perception has become a prominent element due to the new media environments created within today's understanding of art. “New Media Art” performances with VR glasses have shown that not only sensory perceptions, but also mental and intuitive perceptions should be strengthened. Looking at an object for a certain period of time and then trying to draw what remains in mind allows to look more carefully at the environment in time as a way of seeing. In particular, one-sided perception is not sufficient to recognize the dimensions correctly, and it is necessary to benefit from the Gestalt Principles in order to provide a holistic perception process and to transform the illusion formed in the eye into qualitative forms by activating tactile perception. The importance of this study; The aim is to enable students studying in the field of art and design to express their works more realistically and creatively by using more than one perception together. The development of perception differences, which has an important place in supporting creativity, is possible with various exercises with students. The aim is to share such studies and their results with experts in the field.

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Kolisnyk, O. V., and M. O. Kovalenko. "NAIVE ART: FEATURES OF CREATIVE PERCEPTION." Art and Design, no. 3 (December 13, 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, no. 2 (2013): 20–24. http://dx.doi.org/10.18500/1817-7115-2013-13-2-20-24.

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Thompson, Currie K. "Perception and Art: Water Imagery inNada." Kentucky Romance Quarterly 32, no. 3 (January 1985): 291–300. http://dx.doi.org/10.1080/03648664.1985.9928310.

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21

Wilson, Amanda. "Multistable Perception of Art-Science Imagery." Leonardo 45, no. 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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22

Albers, Lucia H. "The Perception of Gardening as Art." Garden History 19, no. 2 (1991): 163. http://dx.doi.org/10.2307/1586892.

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Pahomov, George S. "Essential Perception: Čechov and Modern Art." Russian Literature 35, no. 2 (February 1994): 195–202. http://dx.doi.org/10.1016/0304-3479(94)90032-9.

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Chistopolskaya, Alexandra V., Denis L. Karpov, and Svetlana A. Trifonova. "Phenomenological analysis of the art perception." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 17, no. 2 (June 19, 2023): 298. http://dx.doi.org/10.18255/1996-5648-2023-2-298-307.

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The article presents some results of a qualitative study of the phenomenology of perception of art. As the main results, we received an aesthetic preference for the directions of realism and impressionism by most of the subjects. Aesthetic experience can be described in the categories of rational and emotional. The aesthetic evaluation of paintings is dominated by rational categories. The category of emotional is highly differentiated and includes various types of emotions: ethical, aesthetic, hedonistic and everyday.

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Arthur, C. Danto. "Spirit and the perception of art." Disputatio. Philosophical Research Bulletin 1, no. 2 (December 31, 2012): 5–14. https://doi.org/10.5281/zenodo.5062975.

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Today art can be made of anything, put together with anything, in the service of presenting any ideas whatever. That puts great interpretative pressures on viewers to grasp the way the spirit of the artist undertook to present the ideas that concerned her or him. The embodiment of ideas or meanings is perhaps all we require as a philosophical theory of what art is. But doing the criticism that consists in finding the way the idea is embodied varies from work to work. No hay reglas en las artes.

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J., Philippe Thompson. "Art is All: Proust's Life Lessons Through Perception and Art." Art Style, Art & Culture International Magazine 10, no. 10 (September 1, 2022): 87–104. https://doi.org/10.5281/zenodo.7020568.

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Art Style | Art & Culture International Magazine Abstract For Proust, why does error precede truth? In his <em>In Search of Lost Time</em>, Proust seems to paint his narrator’s errors in his search for truth. To understand <em>In Search of Lost Time</em>, one must unlock Proust’s formula or secret code. Scholars have explored Proust’s “optical illusions” with an emphasis on optics or as part of contemporary art movements. Our discussion examines what Proust called the “medley of impressions which we call vision,” or, in artistic terms, what impressionist painters sought to capture in an impression of a moment. By examining the narrator’s “aesthetic of a re-rooting in perspective” in <em>In Search of Lost Time </em>through Impressionism, I wish to clarify how Proust viewed art, in terms of its illusionary purpose within the novel, as well as the functionality of the novel’s featured paintings both symbolically and metaphorically, through a Structuralist examination of codes. Decoding a text, however, may not be as simple as just following established codes of interpretation: some authors attempt a direct subversion of codes, which Roland Barthes, in <em>The Death of the Author</em>, notes in the case of Marcel Proust’s <em>In Search of Lost Time </em>as Proust was visibly concerned with the task of inexorably blurring, by an extreme subtilization, the relationships in the novel. In other words, is the placement of works of art and the presence of these scenes intended to educate readers, in part, by showing how works of art are not to be read? The answer to this question is the subject of this essay, as I will attempt to identify Proust’s conscious intent in providing life lessons through art by his showing patterns of relations to art and story structure, thus revealing meaning in one of the most important and influential novels of the twentieth century: <em>In Search of Lost Time</em>.    

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Miralay, Fatma, and 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, no. 2 (June 30, 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, no. 1 (March 15, 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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Wahed, Wan Juliana Emeih, Valerie Chan Sue Lin Abdullah, Noorhayati Saad, and Saiful Bahari Mohd Yusoff. "The Aesthetic Perception of Pua Kumbu Textile: A Holistic Exploration." Idealogy Journal 8, no. 1 (April 1, 2023): 115–24. http://dx.doi.org/10.24191/idealogy.v8i1.411.

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Experiencing art is a complex phenomenon to grasp. The difficulty in comprehending the Pua Kumbu textile relates to several factors influencing participants' aesthetic perception, such as art knowledge, gender, and cultural background. Individuals with all these factors can better comprehend the art piece's values. Thus, the purpose of this study is to use the ARS-Revised questionnaire to assess the aesthetic perception of 400 participants about the Pua Kumbu textiles based on their gender and background. The findings revealed that the participants' positive aesthetic perception of the Pua Kumbu textile was influenced by gender, background, and art knowledge. The aesthetic perceptions were received similarly based on gender, except for textile knowledge. Females, who exhibited more interest in creative arts, observed a greater aesthetic perception of the textile. Those from Sarawak, on the other hand, scored higher in factor 2 (textile knowledge) and could better relate to textile information (factor 3) than those from other backgrounds. Participants from Sabah demonstrated the lowest scores in both factors despite Sabah being situated in the same region as Sarawak, Borneo. The participant's gender and background significantly impact their knowledge of the Pua Kumbu textiles. Conclusively, the beauty of the Pua Kumbu lies in the eyes of the beholder, and those with art knowledge can perceive the textile more clearly with a more comprehensive understanding.

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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.

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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial perception through the artists’ intent of creating new urban atmospheres through an experiential layer added onto the urban fabric during light festivals. To do so we analyze and discuss two light installations that we designed and executed, which were shortlisted for the 2022 [d]arc awards. Both projects took part in larger urban light festivals and were located within urban passages. “Reflecting on Troy” [Author 1 - Troy Glow Light Festival] created a temporal light graffiti in an urban alley, while “Riddle 102” [Authors 2,3 - Nobel Week Lights], a dynamic lighting installation in a 231m pedestrian tunnel, created an immersive environment that alters the perception of the tunnel’s physical dimensions. Through reflections, as well as visitor and curator reviews, we unpack the intent and impact of the works on the perception of the urban context. We discuss and analyze the similarities and differences between the two urban settings, identify the design processes and principles pertinent to site-specific light installations [materials, lighting fixtures, testing] and address the impact darkness and over-lit spaces have over spatial perception. Lastly we discuss the impact a temporary light installation may have on the collective memory of the city, perceived in person or online.

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Benjamin, Garfield. "Indistinguishable from Magic: Perception, Knowledge, Technology, Art." Leonardo 53, no. 5 (October 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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Gut’ko, Ekaterina Yu. "THE ESSENCE OF THE STRUCTURAL-COGNITIVE MODEL OF CONSUMER PERCEPTION OF CULTURE AND ART IN MARKETING." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 6/1, no. 147 (2024): 158–63. http://dx.doi.org/10.36871/ek.up.p.r.2024.06.01.021.

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It is determined that the modern approach to art presupposes successful perception and understanding due to previous, and often negative experience, movement towards moments of enlightenment, pleasure and conceptual or perceptual transformation. A person is left without the means to account for fundamental changes in artistic experience, which in turn has led to a simplified concept of perception of art itself, often divorced from the personal beliefs and identity of the consumer, limiting his ability to separate and organize perception, as well as explain and combine cognitive, emotional and evaluative criteria. Thus, it is determined that this is the whole process, during which the consumer returns to cognitive perception with a new set of expectations, which are a direct result of the perception of art. And it is the hidden emphasis on destruction, when the consumer is looking for changes before assimilating, that should provide a significant focus for artistic modeling, which will allow taking into account the specifics of the application and practical results of using the structural and cognitive model of consumer perception of art in art marketing when forming an art marketing development strategy. During the implementation of the presented scheme of the structural and cognitive model of consumer perception of art in art marketing, a significant place is occupied by the implementation of all elements of the marketing complex to fulfill all important strategic tasks for the development of the art industry and art space. For the development of the art space based on a marketing approach, it is important to define in more detail a set of measures for the marketing promotion of art objects and art events.

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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, no. 3 (September 15, 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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Park, Sangwoo. "Aerial Image's Influence on Modern Art : Perception, Sensation, Avant-Grade Art." Korean Association for Visual Culture 39 (December 31, 2021): 5–32. http://dx.doi.org/10.21299/jovc.2021.39.1.

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Cela-Conde, Camilo J., Gisèle Marty, Enric Munar, Marcos Nadal, and Lucrecia Burges. "The “Style Scheme” Grounds Perception of Paintings." Perceptual and Motor Skills 95, no. 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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Son, YoungEun, and DongHun Jeong. "The analysis of the impact of an art subject-linked invention education program on elementary school students' perception of the art subject." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 8 (April 30, 2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.8.77.

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Objectives Although the Korean Intellectual Property Office and the Korea Invention Promotion Association have so far promoted invention education focused on after-school education, with the announcement of the ‘2030 Vision of fostering intellectual property competency’, the organizations are actively promoting the implementation of invention education within regular class hours. To refine this direction of invention education, an invention education program linked to three regular curriculum subjects was developed in 2022. This study intended to analyze how the application of an art-related invention education program to schools affects elementary school students' perception of art subjects. In other words, this study intended to examine the cognitive characteristics of elementary school students regarding the art subjects before and after applying the art subject-linked invention education program. Also, this study sought to investigate whether there were differences in elementary school students' cognitive characteristics regarding art subjects before and after participating in the art curriculum-related invention education program. Methods For this purpose, an invention education program linked to the art class was implemented with 189 participating students in three schools during regular class hours. Then the students' perception of the art class before and after the program was investigated using a survey developed and reconstructed based on the semantic discrimination method. Additionally, a t-test was conducted at the .05 significance level to investigate whether there was a difference in elementary school students' cognitive characteristics regarding art classes before and after participating in the art class-related invention program. Results Both before and after participating in the art classes, there were no extreme values on either end regarding the perception of art subjects, with data ranging from 2 to 4 (on a scale of 1 to 7) on a questionnaire (consisting of pairs of adjectives with opposite meanings describing art subjects). Also, the change in perception of art subjects before and after participating in the program was not statistically significant. Conclusions In conclusion, since there are no extreme values both before and after applying the program, it can be inferred that students do not have a set perception of art classes or invention-related art subjects. Additionally, the fact that the change in perception before and after program participation was not statistically significant may stem from the fact that only one topic out of four topics after development was applied on a pilot basis for each school for the duration of four sessions. Thus, it could be inferred that the time frame was too limited for meaningful changes in perceptions of the subject to occur. Also, it may be possible that there were limitations in applying invention education that accurately reflects the developer’s intent due to the absence of teacher training. In the future, through follow-up research that will be further supplemented these limitations, it is necessary to investigate more closely how students perceive the subjects after participating in invention education.

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Campaner, Miguel. "Cinema and architecture: Modern perception." SAJ - Serbian Architectural Journal 11, no. 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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Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (October 28, 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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Zimmer, Robert. "Abstraction in art with implications for perception." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (July 29, 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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Martynova, Polina G. "Perception of Visual Images in the Psychology of Art." SMALTA, no. 1 (April 22, 2023): 83–92. http://dx.doi.org/10.15293/2312-1580.2301.08.

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The article presents a theoretical analysis of the phenomenology of visual perception in the psychology of fine art. Aspects of perception as one of the mental functions and visual images as meaningful perceptual phenomena are analyzed. The question of the predestination of perception, its development and foundations is discussed. With the help of the analysis of many fundamental sources, the main characteristic of visual perception, influence on modern culture and human thinking has been established. The possibilities of applying the psychology of art in psychological counseling are described. The practical methods of fine art are explained from the standpoint of psychology, as well as examples of the perception of visual images in art therapy based on the research of domestic and foreign authors are indicated. In conclusion, examples of human perception of visual images in psychodiagnostic techniques are considered, and prospects for future theoretical and practical work in the field of psychotherapy through the prism of fine art are outlined.

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Seth, Anil K. "From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience." European Review 27, no. 3 (June 14, 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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Desa, Noor Enfendi, Noor A'yunni Muhamad, Syed Alwi Syed Abu Bakar, and Azian Tahir. "Perception on Si + Sa as a Theme in a Work of Art Entitled “Free Memories”." Idealogy Journal 6, no. 2 (September 1, 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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Galvan, R. "EE/UU: Exquisite expression/unsettling utterance." Cultural Dynamics 29, no. 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, no. 1 (September 21, 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, no. 2 (November 10, 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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Caws, Mary Ann. "Perspectives on Perception: Philosophy, Art, and Literature." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 266. http://dx.doi.org/10.2307/431783.

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Arnheim, Rudolf. "The State of the Art in Perception." Leonardo 20, no. 4 (1987): 305. http://dx.doi.org/10.2307/1578523.

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Hagtvedt, Henrik, Vanessa M. Patrick, and Reidar Hagtvedt. "The Perception and Evaluation of Visual Art." Empirical Studies of the Arts 26, no. 2 (July 2008): 197–218. http://dx.doi.org/10.2190/em.26.2.d.

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Brownlee, Peter John. "Color Theory and the Perception of Art." American Art 23, no. 2 (June 2009): 21–24. http://dx.doi.org/10.1086/605706.

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Shobri, Nor Izana Mohd, Siti Rasidah Md Sakip, and Noorlida Daud. "Public Perception Towards Graffiti Art in Malaysia." Advanced Science Letters 23, no. 7 (July 1, 2017): 6203–7. http://dx.doi.org/10.1166/asl.2017.9236.

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