Description
Book SynopsisThis volume is a collection of articles which explore the relations between modern and classical visual art on the one hand and what is currently known or believed about visual perception, visual exploration, the eye, and the visual brain. The book includes speculative as well as firmly-grounded theories and approaches. Articles have been chosen for their scholarly value, their scientific approach as far as possible, and their intrinsic interest.
Table of ContentsIntroduction Art as a scientific object: toward a visual science of art B. Pinna Some principles of spatial organization in art C. W. Tyler The origins of entasis: illusion, aesthetics or engineering? P. Thompson, G. Papadopoulou and E. Vassiliou Brain activity accompanying perception of implied motion in abstract paintings C.-Y. Kim and R. Blake Designing visually rich, nearly random textures J. Ninio Piranesi and the infinite prisons S. Roncato Gender’s effect on the hemispheric laterality of Rembrandt’s portraits J. A. Schirillo Artful visions N. J. Wade Visual interest in pictorial art during an aesthetic experience P. Locher, E. A. Krupinski, C. Mello-Thoms and C. F. Nodine Art pieces that ‘move’ in our minds— an explanation of illusory motion based on depth reversal T. V. Papathomas A universal model of esthetic perception based on the sensory coding of natural stimuli C. Redies Portraits and perception: configural information in creating and recognizing face images B. J. Balas and P. Sinha Fractal-like image statistics in visual art: similarity to natural scenes C. Redies, J. Hasenstein and J. Denzler Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities D. J. Graham and D. J. Field Examining art: dissociating pattern and perceptual influences on oculomotor behaviour B. W. Tatler, N. J. Wade and K. Kaulard The science and craft of autostereograms J. Ninio Index Color plates I–XVI
