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 The illusion of Art How do painters represent motion in garments? Graphic invariants across centuries Implicit and explicit features of paintings Reflections in art The incomplete angler: effects created by visual omission Understanding 2D projections on mirrors and on windows The aesthetic experience of ‘contour binding’ The representation of time course events in visual arts and the development of the concept of time in children: a preliminary study Self and world: large scale installations at science museums The visual system as a constraint on the survival and success of specific artworks Spatial vision anomalies in Renaissance art: Raphael, Giorgione, Dürer Towards a framework for the study of the neural correlates of aesthetic preference Factors contributing to depth perception: behavioral studies on the reverse perspective illusion Emmert’s Law and the moon illusion Aesthetic issues in spatial composition: effects of position and direction on framing single objects Angle illusion on a picture’s surface The art of seeing and painting Attentional vs computational complexity measures in observing paintings Corner salience varies linearly with corner angle during flicker-augmented contrast: a general principle of corner perception based on Vasarely’s artworks From perception to art: how vision creates meanings
