Muutke küpsiste eelistusi

E-raamat: Art and Expression: Studies in the Psychology of Art

Teised raamatud teemal:
  • Formaat - EPUB+DRM
  • Hind: 54,59 €*
  • * hind on lõplik, st. muud allahindlused enam ei rakendu
  • Lisa ostukorvi
  • Lisa soovinimekirja
  • See e-raamat on mõeldud ainult isiklikuks kasutamiseks. E-raamatuid ei saa tagastada.
Teised raamatud teemal:

DRM piirangud

  • Kopeerimine (copy/paste):

    ei ole lubatud

  • Printimine:

    ei ole lubatud

  • Kasutamine:

    Digitaalõiguste kaitse (DRM)
    Kirjastus on väljastanud selle e-raamatu krüpteeritud kujul, mis tähendab, et selle lugemiseks peate installeerima spetsiaalse tarkvara. Samuti peate looma endale  Adobe ID Rohkem infot siin. E-raamatut saab lugeda 1 kasutaja ning alla laadida kuni 6'de seadmesse (kõik autoriseeritud sama Adobe ID-ga).

    Vajalik tarkvara
    Mobiilsetes seadmetes (telefon või tahvelarvuti) lugemiseks peate installeerima selle tasuta rakenduse: PocketBook Reader (iOS / Android)

    PC või Mac seadmes lugemiseks peate installima Adobe Digital Editionsi (Seeon tasuta rakendus spetsiaalselt e-raamatute lugemiseks. Seda ei tohi segamini ajada Adober Reader'iga, mis tõenäoliselt on juba teie arvutisse installeeritud )

    Seda e-raamatut ei saa lugeda Amazon Kindle's. 

Perception of expression distinguishes our cognitive activity in a pervasive, significant and peculiar way, and manifests itself paradigmatically in the vast world of artistic production.Art and Expression analyses the cognitive processes involved in artistic production, aesthetic reception, understanding and enjoyment. Using a phenomenological theoretical and methodological framework, developed by Rudolf Arnheim and other important scholars interested in expressive media, Alberto Argenton considers a wide range of artistic works, which span the whole arc of the history of western graphic and pictorial art. Argenton analyses the representational strategies of a dynamic and expressive character that can be reduced to basic aspects of perception, like obliqueness, amodal completion, and the bilateral function of contour, giving new directions relative to the functioning of cognitive activity. Art and Expression is a monument to the fruitful collaboration of art history and psychology, and Argenton has taken great care to construct a meaningful psychological approach to the arts based also on a knowledge of pictorial genres that allows him to systematically situate the works under scrutiny. Art and Expression is an essential resource for postgraduate researchers interested in visual perception, art, and gestalt psychology.
Editor's introduction ix
Ian Verstegen
Introduction xvii
PART I Expression and the dynamics of perception
1(68)
1 Expression and expressive qualities
3(37)
1.1 The study of expression in psychology
3(10)
1.1.1 The deficiency disease
5(1)
1.1.2 The phenomenological method
6(4)
1.1.2.1 Inter-observation
10(3)
1.2 For a definition of expression
13(18)
1.2.1 Expression and physiognomic perception
15(3)
1.2.2 The genetic and phenomenal primacy of expressive qualities
18(3)
1.2.3 Emotive determinism
21(2)
1.2.4 The lexicon of expression
23(2)
1.2.5 The essential traits of expression
25(4)
1.2.6 Isomorphism and figurative thought
29(2)
Notes
31(6)
References
37(3)
2 The dynamics of perception and expressive qualities
40(29)
2.1 The construct of dynamics
40(1)
2.2 Arnheim's conception of the dynamics of visual perception
41(10)
2.2.1 Vectors, forces, tensions and dynamics of perception
42(2)
2.2.1.1 Physical forces and perceptual forces
44(1)
2.2.2 Dynamics is the vehicle of expression
45(2)
2.2.2.1 An example taken from art
47(4)
2.3 Dynamics, expression and graphic and pictorial language
51(5)
2.3.1 A comparison of two paintings
54(2)
2.4 The two `guiding values' of art and behaviour
56(3)
2.5 Representational strategies of the graphic-pictorial medium
59(2)
Notes
61(3)
References
64(5)
PART II Thematic studies
69(136)
3 The swing effect: A little-studied perceptual phenomenon
71(28)
3.1 Pictorial perception and line drawing
71(2)
3.2 Contour rivalry
73(4)
3.2.1 The visual tug-of-war
76(1)
3.3 Perceptual conditions of the swing effect
77(6)
3.3.1 Differences between the swing effect and other cases of percept alternation
80(3)
3.4 The dynamic aspects of the swing effect
83(1)
3.5 The presence of the swing effect in graphic and pictorial representation
84(10)
3.5.1 Trademarks
85(1)
3.5.2 Symbols
86(1)
3.5.3 Decoration
87(2)
3.5.4 Enamels and painting on glass
89(2)
3.5.5 Cubism and Pablo Picasso
91(1)
3.5.6 A unique case: Sano di Pietro
92(2)
3.6 The nature and properties of the swing effect
94(2)
Notes
96(1)
References
97(2)
4 Amodal completion and pictorial representation
99(35)
4.1 Amodal completion
99(4)
4.2 Perceptual completion 10J
4.3 The structural conditions, laws and psychological principles of completion
103(3)
4.4 Amodal completion between seeing and thinking
106(4)
4.5 Amodal completion, dynamics and expression
110(6)
4.6 "Completion by frame"
116(12)
4.7 Amodal completion and cognition
128(1)
Notes
129(2)
References
131(3)
5 The dynamics of obliqueness: Windmills and timepieces
134(71)
5.1 Obliqueness in perception and in pictorial representation
134(7)
5.1.1 The local use of obliqueness
138(3)
5.2 Two studies on local obliqueness
141(1)
5.3 The study of the pictorial representation of windmills
141(13)
5.3.1 Windmills
142(1)
5.3.2 The pictorial genre
143(2)
5.3.3 Stylistic characterisation
145(6)
5.3.4 The premises of the research
151(1)
5.3.4.1 The windmill illusion
151(3)
5.4 Hypothesis, aims and structure of the research
154(25)
5.4.1 Research results
156(1)
5.4.1.1 The 1400s, the 1500s and the Flemish tradition
157(5)
5.4.1.2 The 1600s and Dutch landscape painting
162(6)
5.4.1.3 The 1700s
168(1)
5.4.1.4 The 1800s
169(3)
5.4.1.5 The early 1900s: Piet Uondrian
172(7)
5.5 Research into the pictorial representation of timepieces
179(5)
5.5.1 Timepiece advertising
181(3)
5.6 Hypothesis, aims and structure of the research
184(10)
5.6.1 Research results
186(8)
5.7 Obliqueness and visual thinking
194(2)
Notes
196(5)
References
201(4)
Name index 205(6)
Subject index 211
Alberto Argenton was Professor of psychology of art in the Faculty of Psychology at University of Padova until 2014 and passed away in 2015. He is recognized as one of the preeminent scholars of the psychology of art in Italy. He authored numerous scientific papers and books, and was also a skilful artist, conducting his pictorial research with the same rigour he adopted for his scientific work (www.albertoargenton.it).

Ian Verstegen is the Associate Director of Visual Studies at the University of Pennsylvania, where his current teaching is focused on the image and its special characteristics.