New PDF release: Arnheim, Gestalt and Art: A Psychological Theory

By Ian Verstegen

ISBN-10: 3211288643

ISBN-13: 9783211288641

ISBN-10: 3211307621

ISBN-13: 9783211307625

Arnheim, Gestalt and artwork is the 1st book-length dialogue of the robust contemplating the psychologist of artwork, Rudolf Arnheim. Written as an entire evaluation of Arnheim’s considering, it covers basic problems with the significance of mental dialogue of the humanities, the prestige of gestalt psychology, a number of the feel modalities and media, and developmental matters. by means of continuing in a course from normal to express after which continuing via dynamic strategies as they spread in time (creativity, improvement, etc.), the ebook discovers an unappreciated cohesion to Arnheim’s pondering. no longer content material to easily summarize Arnheim’s idea, in spite of the fact that, Arnheim, paintings, and Gestalt is going directly to increase (and sometimes query) Arnheim’s findings with the modern result of gestalt-theoretical learn from around the globe, yet in particular in Italy and Germany. the result's a manageable evaluation of the psychology of artwork with bridges equipped to modern learn, making Arnheim’s technique residing and sustainable.

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Additional info for Arnheim, Gestalt and Art: A Psychological Theory

Example text

In the last chapter I sketched the role of mental images in visual thinking. When Arnheim stresses the role of perceptual comparison for a logical task, for example, there has to be brain correlate for this too. Kosslyn (1994) uses compelling neurological evidence to make the case that visualization uses the same physiological resources as vision, that mental images are generated by the triggering of elements of our visual system. In fact, he has even left open the possibility of isomorphic neural correlates of mental images (Kosslyn, 1995, pp.

This is yet more cross-cultural evidence for the universality of the lateral asymmetry of visual space. Traditinally anisotropy is found in landscape design too.

Other buildings, however, serve to embody qualities of their inhabitants, and the overtone of symbolism predominates. “ T h e general notion of protective shelter is embodied in the particular shelter serving a particular person or living group, and the position of man in his world is reflected in the inhabitant’s moving about within his four walls” (p. 216). A succesful church, palace or home, says Arnheim, concentrate on these effects. Like sculpted objects, I shall treat buildings as centers.

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Arnheim, Gestalt and Art: A Psychological Theory by Ian Verstegen


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