| Editor's introduction |
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ix | |
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| Introduction |
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xvii | |
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PART I Expression and the dynamics of perception |
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1 | (68) |
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1 Expression and expressive qualities |
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3 | (37) |
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1.1 The study of expression in psychology |
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3 | (10) |
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1.1.1 The deficiency disease |
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5 | (1) |
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1.1.2 The phenomenological method |
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6 | (4) |
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1.1.2.1 Inter-observation |
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10 | (3) |
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1.2 For a definition of expression |
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13 | (18) |
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1.2.1 Expression and physiognomic perception |
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15 | (3) |
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1.2.2 The genetic and phenomenal primacy of expressive qualities |
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18 | (3) |
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1.2.3 Emotive determinism |
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21 | (2) |
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1.2.4 The lexicon of expression |
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23 | (2) |
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1.2.5 The essential traits of expression |
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25 | (4) |
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1.2.6 Isomorphism and figurative thought |
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29 | (2) |
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31 | (6) |
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37 | (3) |
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2 The dynamics of perception and expressive qualities |
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40 | (29) |
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2.1 The construct of dynamics |
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40 | (1) |
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2.2 Arnheim's conception of the dynamics of visual perception |
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41 | (10) |
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2.2.1 Vectors, forces, tensions and dynamics of perception |
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42 | (2) |
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2.2.1.1 Physical forces and perceptual forces |
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44 | (1) |
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2.2.2 Dynamics is the vehicle of expression |
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45 | (2) |
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2.2.2.1 An example taken from art |
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47 | (4) |
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2.3 Dynamics, expression and graphic and pictorial language |
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51 | (5) |
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2.3.1 A comparison of two paintings |
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54 | (2) |
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2.4 The two `guiding values' of art and behaviour |
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56 | (3) |
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2.5 Representational strategies of the graphic-pictorial medium |
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59 | (2) |
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61 | (3) |
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64 | (5) |
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69 | (136) |
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3 The swing effect: A little-studied perceptual phenomenon |
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71 | (28) |
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3.1 Pictorial perception and line drawing |
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71 | (2) |
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73 | (4) |
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3.2.1 The visual tug-of-war |
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76 | (1) |
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3.3 Perceptual conditions of the swing effect |
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77 | (6) |
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3.3.1 Differences between the swing effect and other cases of percept alternation |
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80 | (3) |
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3.4 The dynamic aspects of the swing effect |
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83 | (1) |
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3.5 The presence of the swing effect in graphic and pictorial representation |
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84 | (10) |
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85 | (1) |
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86 | (1) |
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87 | (2) |
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3.5.4 Enamels and painting on glass |
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89 | (2) |
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3.5.5 Cubism and Pablo Picasso |
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91 | (1) |
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3.5.6 A unique case: Sano di Pietro |
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92 | (2) |
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3.6 The nature and properties of the swing effect |
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94 | (2) |
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96 | (1) |
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97 | (2) |
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4 Amodal completion and pictorial representation |
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99 | (35) |
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99 | (4) |
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4.2 Perceptual completion 10J |
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4.3 The structural conditions, laws and psychological principles of completion |
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103 | (3) |
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4.4 Amodal completion between seeing and thinking |
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106 | (4) |
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4.5 Amodal completion, dynamics and expression |
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110 | (6) |
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4.6 "Completion by frame" |
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116 | (12) |
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4.7 Amodal completion and cognition |
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128 | (1) |
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129 | (2) |
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131 | (3) |
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5 The dynamics of obliqueness: Windmills and timepieces |
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134 | (71) |
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5.1 Obliqueness in perception and in pictorial representation |
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134 | (7) |
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5.1.1 The local use of obliqueness |
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138 | (3) |
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5.2 Two studies on local obliqueness |
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141 | (1) |
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5.3 The study of the pictorial representation of windmills |
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141 | (13) |
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142 | (1) |
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5.3.2 The pictorial genre |
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143 | (2) |
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5.3.3 Stylistic characterisation |
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145 | (6) |
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5.3.4 The premises of the research |
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151 | (1) |
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5.3.4.1 The windmill illusion |
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151 | (3) |
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5.4 Hypothesis, aims and structure of the research |
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154 | (25) |
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156 | (1) |
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5.4.1.1 The 1400s, the 1500s and the Flemish tradition |
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157 | (5) |
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5.4.1.2 The 1600s and Dutch landscape painting |
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162 | (6) |
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168 | (1) |
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169 | (3) |
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5.4.1.5 The early 1900s: Piet Uondrian |
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172 | (7) |
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5.5 Research into the pictorial representation of timepieces |
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179 | (5) |
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5.5.1 Timepiece advertising |
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181 | (3) |
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5.6 Hypothesis, aims and structure of the research |
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184 | (10) |
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186 | (8) |
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5.7 Obliqueness and visual thinking |
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194 | (2) |
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196 | (5) |
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201 | (4) |
| Name index |
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205 | (6) |
| Subject index |
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211 | |