Bibliografías temáticas / Art appreciation Art Visual perception

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Literatura académica sobre el tema "Art appreciation Art Visual perception"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 16 de febrero de 2022

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Artículos de revistas sobre el tema "Art appreciation Art Visual perception"

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Bai, Hui. "The Exploration of Arnheim‘s Theory of Visual Perception in the Field of Art Appreciation and Review in Junior High School". Learning & Education 9, n.º 2 (10 de noviembre de 2020): 139. http://dx.doi.org/10.18282/l-e.v9i2.1428.

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Rudolf Arnheim (German Rudolf Arnheim, 1904-2007) is a famous Gestalt psychologist and aesthetician in the history of western aesthetics. His research on the theory of visual perception plays an important role in exploring human thinking activities. Arnheim’s theory of visual perception and related research in the field of art education can provide professional and detailed theoretical support for the teaching of art curriculum appreciation and review in middle school. Through the analysis and exploration of Arnheim’s visual perception theory, this paper attempts to apply his visual perception theory to the learning field of junior high school art curriculum appreciation review. Teachers can make use of Arnheim’s relevant research results to make students understand and master art language more easily, and make full use of art language knowledge for art appreciation.
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Arai, Shihoko y Hideaki Kawabata. "Appreciation Contexts Modulate Aesthetic Evaluation and Perceived Duration of Pictures". Art and Perception 4, n.º 3 (16 de septiembre de 2016): 225–39. http://dx.doi.org/10.1163/22134913-00002052.

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When looking at visual stimuli, context often easily affects elements of perception and cognition such as aesthetic evaluation, memory, and time perception. However, the relationships between aesthetic evaluation and time perception as influenced by context are not fully understood. This study’s aim was to examine whether context can influence not only aesthetic evaluation but also time perception. To achieve this, a temporal reproduction task was used. Participants viewed stimuli in either an art context or a realistic context. Identical affective pictures were presented in one of three durations (2500 ms, 4500 ms, or 6500 ms) and the participants reproduced their perceived viewing time for each picture. The pictures were rated as more pleasant when viewed in the art context compared to the realistic context. Additionally, the perceived duration of identical visual stimuli differed according to the particular context. Thus, contextual differences were found to be attributed to different operations of a switch within the internal clock. In sum, context can influence both aesthetic evaluation and time perception.
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Popadić, Marko y Siniša Ristić. "Influence of verbal, auditory and visual incentives on art perception and reception of primary school students". Биомедицинска истраживања 11, n.º 2 (2020): 151–58. http://dx.doi.org/10.5937/bii2002151p.

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Introduction. Art reception and experiencing is a complex process, containing creative components. The experience of a work of art involves reproduction, in the viewer's consciousness, of the experiences and excitement that the artist himself or herself have undergone in the process of creating the same works of art. When viewing visual images, our perception is directed towards the identification of objects, and when viewing visual images as works of art, we also tend to experience them - we subjectively react to elements, such as stylistic and structural characteristics. The aim of the research is to examine the effectiveness of the experimental program named the Impact of Verbal, Auditory and Visual Incentives, designed to foster students' visual perception and visual reception during art education. Methods. The experimental method with parallel groups was used. The research included the sample consisting of 98 students, out of which 45 belonged to experimental group while 53 were control students from Trebinje region. Test LV1, examining visual creativity, as well as visual perception and visual reception (art appreciation), was used. Results. The results indicated that the experimental program influenced the development of the visual perceptive (F = 3.76; p = 0.05) and visual receptive (F = 8.01; p = 0.00) abilities among students during art education because the experimental group students achieved significantly better results than the control group students. The experimental program was aligned with the curriculum and designed to influence the development of students' visual-perceptual and visual-receptive abilities. Conclusion. The obtained results indicate that it is possible to influence the development of students' visual-perceptual and visual-receptive abilities by using a specially designed program, aimed at stimulating verbal, auditory and visual aspects of visual expression.
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Lin, Ming-Hwai, Shwu-Lan Moh, Yu-Cheng Kuo, Pin-Yuan Wu, Chiung-Ling Lin, Mei-Hui Tsai, Tzeng-Ji Chen y Shinn-Jang Hwang. "Art therapy for terminal cancer patients in a hospice palliative care unit in Taiwan". Palliative and Supportive Care 10, n.º 1 (13 de febrero de 2012): 51–57. http://dx.doi.org/10.1017/s1478951511000587.

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AbstractObjective:Even though terminal cancer patients receive help from a hospice palliative care team, they have to suffer the pressure of death with deteriorating conditions. This study aims to evaluate the effect of art therapy for these terminal cancer patients.Method:The patients involved were terminal cancer patients who were under the care of team members, which included physicians, nurses, social workers, clergy, art therapists, and volunteers in a hospice palliative care unit in Taiwan. The art therapy in our study took the form of visual fine art appreciation and hands-on painting. The effects of the art therapy were evaluated according to patients' feelings, cognitions, and behaviors.Results:There were 177 patients (105 males and 72 females; mean age: 65.4 ±15.8 years) in the study. Each patient received a mean of 2.9 ± 2.0 sessions of the art therapy and produced a mean of 1.8 ± 2.6 pieces of art. During the therapy, most patients described their feelings well, and created art works attentively. Patients expressed these feelings through image appreciation and hands-on painting, among which the landscape was the most common scene in their art. After the therapy, the mean score of patients' artistic expressions (one point to each category: perception of beauty, art appreciation, creativity, hands-on artwork, and the engagement of creating artwork regularly) was 4.0 ± 0.7, significantly higher than the score before therapy (2.2 ± 1.4, p < 0.05). During the therapy, 70% of patients felt much or very much relaxed in their emotional state and 53.1% of patients felt much or very much better physically.Significance of results:Terminal cancer patients in a hospice palliative care unit in Taiwan may benefit from art therapy through visual art appreciation and hands-on creative artwork.
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Liu, Jianli, Edwin Lughofer y Xianyi Zeng. "Toward Model Building for Visual Aesthetic Perception". Computational Intelligence and Neuroscience 2017 (2017): 1–13. http://dx.doi.org/10.1155/2017/1292801.

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Several models of visual aesthetic perception have been proposed in recent years. Such models have drawn on investigations into the neural underpinnings of visual aesthetics, utilizing neurophysiological techniques and brain imaging techniques including functional magnetic resonance imaging, magnetoencephalography, and electroencephalography. The neural mechanisms underlying the aesthetic perception of the visual arts have been explained from the perspectives of neuropsychology, brain and cognitive science, informatics, and statistics. Although corresponding models have been constructed, the majority of these models contain elements that are difficult to be simulated or quantified using simple mathematical functions. In this review, we discuss the hypotheses, conceptions, and structures of six typical models for human aesthetic appreciation in the visual domain: the neuropsychological, information processing, mirror, quartet, and two hierarchical feed-forward layered models. Additionally, the neural foundation of aesthetic perception, appreciation, or judgement for each model is summarized. The development of a unified framework for the neurobiological mechanisms underlying the aesthetic perception of visual art and the validation of this framework via mathematical simulation is an interesting challenge in neuroaesthetics research. This review aims to provide information regarding the most promising proposals for bridging the gap between visual information processing and brain activity involved in aesthetic appreciation.
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Desa, Noor Enfendi, Noor A'yunni Muhamad, Syed Alwi Syed Abu Bakar y Azian Tahir. "Perception on Si + Sa as a Theme in a Work of Art Entitled “Free Memories”". Idealogy Journal 6, n.º 2 (1 de septiembre de 2021): 91–97. http://dx.doi.org/10.24191/idealogy.v6i2.302.

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The effects from thinking will result in the production of perception. This perception exists in both positive and negative situations. It focuses on the cognitive that explains how human brain responds to the perceptions received from their respective methods of understanding. The exhibition of “Kami 8: SI + SA" has managed to exhibit creative artwork produced by academic staffs from the Faculty of Art and Design UiTM Perak, with the appreciation of the theme "SI + SA" will change the way of delivery or meaning, according to the circumstances and methods of individual personal perception. The research design is based on J.J. Winklemann in producing art works. Data collection consisting of sampling and equipment based on ideal imagery observation methods. Also, samples and equipment were analyzed based on the production of the proposed artwork based on the studio-based research. The artwork "free memories" is produced based on perception and understanding by the author translating in visual form.
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Humphries, Stacey, Jacqueline Rick, Daniel Weintraub y Anjan Chatterjee. "Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease". Journal of Cognitive Neuroscience 33, n.º 7 (1 de junio de 2021): 1329–42. http://dx.doi.org/10.1162/jocn_a_01718.

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Abstract Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.
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Sharrock, A. R. "The art of deceit: Pseudolus and the nature of reading". Classical Quarterly 46, n.º 1 (mayo de 1996): 152–74. http://dx.doi.org/10.1093/cq/46.1.152.

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Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.
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Janik, Liliana, Corinne Roughley y Katarzyna Szczȩsna. "Skiing on the Rocks: the Experiential Art of Fisher-gatherer-hunters in Prehistoric Northern Russia". Cambridge Archaeological Journal 17, n.º 3 (octubre de 2007): 297–310. http://dx.doi.org/10.1017/s0959774307000388.

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The interpretation of images in relation to their particular setting on rock surfaces has been highlighted in recent studies into the location of depictions in the natural landscape and shamanistic beliefs and practices. The significance of the approach in this article, however, lies in studying the morphology of the rock surface as an integral part of the visual imagery of the rock art, notably how the physical dimensions of the rock surface were used in recreating the physical landscape familiar to the prehistoric artists. We use experiential and cognitive approaches to visual perception to combine an appreciation of artistic endeavour of rock art with an enhanced understanding of the human capacity for creating such images. The results of this approach to rock art contribute to a better understanding of the creative and cognitive aspects of prehistoric fisher-gatherer-hunter art. A detailed example is discussed showing how the physical landscape was re-created in the morphology of the rock surface by using the motion of skiing to illustrate one of the visual narratives at the site of Zalavruga in northern Russia.
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Muth, Claudia, Marius Hans Raab y Claus-Christian Carbon. "Expecting the Unexpected: How Gallery Visitors Experience Semantic Instability in Art". Art and Perception 5, n.º 2 (5 de junio de 2017): 121–42. http://dx.doi.org/10.1163/22134913-00002062.

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The perception of artworks rarely—if ever—results in the instantiation of a determinate meaning. Instead, when entering an art gallery, we often expect Semantic Instability (SeIns): the experience of perceptual and cognitive habits being challenged. By comparing the experience of an artistic movie in an exhibition with the experience in a laboratory via the Continuous Evaluation Procedure, we found that the movie was less semantically unstable and more pleasing to the eyes of gallery visitors than to those of participants in the laboratory. These findings suggest that a gallery context might induce the expectation of perceptual challenge, thus decreasing the intensity of SeIns and at the same time heightening the appreciation of SeIns. Exhibition visitors might even be on the lookout for challenging experiences.
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Tesis sobre el tema "Art appreciation Art Visual perception"

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Belan, Kyra. "The effect of sexist attitudes on the perception of visual artists by community college and university students". FIU Digital Commons, 1992. http://digitalcommons.fiu.edu/etd/1507.

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This study compared the effects of sexist labeling on the perceptions of visual artists by the community college and university students and determined their sex role orientation. The 370 students were shown five slides of an artist's works and were given six versions of an artist's biography. It contained embedded sexual labeling (woman, girl, person/ she, man, guy, person/he). The Artist Evaluation Questionnaire was administered to the female and male community college and university students that required the students to evaluate the female and male artists on several aspects of affective and cognitive measures. The questionnaire consisted of 9 items that had to be rated by the participants. In addition, the students filled out the Demographic Questionnaire and the BEM Sex Role Inventory, titled the Attitude Questionnaire. The Analysis of Variance testing procedures were administered to analyze the responses. The results disclosed gender differences in students' ratings. The female artist's work, when the artist was referred to by the neutral sexual label, "person", received significantly higher ratings from the female students. The male students gave the female artist her highest ratings when she was referred to by the low status sexual label, "girl". Both sexes did not express statistically significant preferences for any of the male sexual labels. Gender difference became apparent when it was found that female students rated both sexes equally, and their ratings were lower than those of the male students. The male students rated the female artist's work higher than the work of the male artist. The analysis of the sex role inventory questionnaire revealed the absence of the feminine (expressive) and masculine (instrumental) personalities among the students. The personalities of almost all the students were androgynous, with a few within the range of the near feminine, and a few within the range of the near masculine. The study reveals that there are differences in perception of sexual labels among the community college and university students.
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Bassi, Merfat Mohammed. "A Somatic Mindfulness Project Exploring the Effects of Meditation on Art Appreciation in the Gallery Setting". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609113/.

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This dissertation describes the effects of a somatic mindfulness project on the way participants interact with and respond to works of art in a gallery setting. The study begins with a critique of Descartes' philosophy, Cartesianism, which emphasizes the role of the mind over that of the body and senses and argues that this thought continues to affect education even today. By contrast, phenomenology and mindfulness practices attempt to overcome Descartes' legacy by focusing on the importance of the body in lived experience. In particular, this study uses a phenomenological framework to conduct mindfulness on the relationship between the body and the perception of art. To do so, I utilized several phenomenological techniques for gathering data, including observations, video, and interviews, and I also created a unique method to analyze the data using a phenomenological verbal (written) description and visual (through photographic paintings) description. These techniques worked together to express the moment of reversibility between the meditative body and the artworks in the gallery setting. In sum, the findings of this study show that meditation changes the perceptual experience for different people in different ways. Another finding is that different forms of meditation may work better for some people than others. The findings of this study suggest that if art teachers are interested in using meditation, they need to be familiar with multiple forms of meditation. Also, they need to consider the role of the environment, as well as that of the artworks, in creating a wholistic meditative mood.
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Burger, Pieter Willem. "Die interaktiewe naspeuring van implisiete betekenis in die visuele kunswerk : 'n hermeneutiese soeke na waarheid = The interactive interpretation of implied meaning in the visual artwork : a hermeneutical search for truth". Thesis, Bloemfontein : Central University of Technology, Free State, 2011. http://hdl.handle.net/11462/153.

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Hawes, Robin J. "Art and visual perception : what value do contemporary theories of visual perception have for art practice?" Thesis, Cardiff Metropolitan University, 2014. http://hdl.handle.net/10369/6524.

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Johnston, Jennene, of Western Sydney Hawkesbury University y Faculty of Social Inquiry. "Subtle exchanges : cultivating relations with duration : eastern, western and esoteric approaches to contemplating art practice". THESIS_FSI_XXX_Johnston_J.xml, 1999. http://handle.uws.edu.au:8081/1959.7/419.

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This thesis aims to consider the potential for perception of the subtle exchanges of viewers and artwork; subject and object. This necessitates an examination of ontologies, concepts of the body, perceptive schemas and modes of consciousness that ultimately destabilise the assumed solidity and individuality of subject and object. Exchanges of subtle effects are continually taking place between viewer and object, and the space between subject and object is alive with interaction. Process philosophy is introduced as the basic ontological perspective underlying this reflection of subject-object relations. Three conceptualisations of subject-object interaction are considered: Western, Esoteric and Eastern, and three types of body-mind proposed by these investigations are discussed. The process and practice of cultivation required to activate intuition as a faculty able to perceive subtle effects are considered. This focuses mainly upon Eastern practices, with emphasis on the interrelation of cultivation and the creation/contemplation of visual art works.
Master of Arts (Hons)
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Granell, Querol Andrea. "The effect of contemporary art perception: Study of younger and older adults' art appreciation in museum experiences". Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/386510.

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La Psicologia de l'Art estudia les experiències estètiques i les preferències dels individus mentre miren l'art. L'objectiu d'aquesta investigació és analitzar l'apreciació de l'art contemporani en joves i gent gran al MFA de Boston. Es van dur a terme anàlisis quantitatives i qualitatives. L’estudi 1 va mostrar que els joves, més que la gent gran, van trobar que les cartel·les i les converses van contribuir a apreciar l'art contemporani, i més en el context del museu que en el del laboratori. L’estudi 2 va mostrar que el context del museu va contribuir a apreciar l’art, també, en els grups de discussió els joves comentaven que les cartel·les i les converses eren un punt de partida per entendre i apreciar l'art, per la gent gran no van ser tan útils. L'estudi 3 va mostrar que no només hi havia diferències entre la sala d’art contemporani i tradicional -la comprensió de l'art contemporani va ser major en la galeria d'art contemporani-, sinó també entre els grups d'edat -els joves van declarar que els agradava més l'art contemporani i la gent gran van gaudir més de l’experiència de visitar el museu-. Vam arribar a la conclusió que no només les diferències d'edat, sinó també les diferències relacionades amb l'educació i la freqüentació de les visites als museus contribueixen a l'apreciació de l'art. Aquesta investigació és important per demostrar com la gent aprecia i entén l'art contemporani. Per tant, aquests resultats tenen implicacions rellevants per dissenyar programes d’activitats en els museus que involucrin diferents grups de visitants.
La Psicología del Arte estudia las experiencias estéticas y las preferencias de los individuos mientras miran el arte. El objetivo de esta investigación es analizar la apreciación del arte contemporáneo de jóvenes y gente mayor en el MFA de Boston. Se llevaron a cabo análisis cuantitativos y cualitativos. El estudio 1 mostró que los jóvenes, más que la gente mayor, encontraron que las cartelas y conversaciones contribuyeron a apreciar el arte contemporáneo, y más en el contexto del museo que en el del laboratorio. El estudio 2 mostró que el contexto del museo contribuyó a la apreciación del arte. También, las discusiones en el grupo de jóvenes confirmaron que las cartelas y las conversaciones forman un punto de partida para entender y apreciar el arte, para la gente mayor no eran tan útiles. El estudio 3 mostró que no sólo existían diferencias entre la sala de arte contemporáneo y tradicional -la comprensión del arte contemporáneo fue mayor en la sala de arte contemporáneo-, sino también entre los grupos de edad -los jóvenes declararon que les gustaba más el arte contemporáneo y la gente mayor disfrutó más de la experiencia en el museo-. Llegamos a la conclusión de que no sólo las diferencias de edad, sino también las diferencias relacionadas con la educación y la frecuentación de visitas contribuyeron a la apreciación del arte. Esta investigación es importante para demostrar cómo la gente aprecia y entiende el arte contemporáneo. Por lo tanto, estos resultados tienen implicaciones relevantes para diseñar programas en los museos que involucren diferentes grupos.
Psychology of Art studies aesthetic experiences and individuals’ preferences while looking at art. The aim of this research is to analyze contemporary art appreciation in younger and older adults at the Museum of Fine Arts, Boston. Quantitative and qualitative analyses were conducted. Study 1 showed that younger more than older adults found that labels and conversations contributed to liking contemporary art, more in a museum setting rather than in a lab setting. Study 2 showed that the museum context contributed to appreciating the art. Also, group discussion of younger adults confirmed labels and conversations in the museum to be a starting point to understand and appreciate art; for older adults, these were not so helpful. Study 3 showed that not only were there differences between a contemporary and a traditional art gallery -participants understanding of contemporary art was greater in the contemporary art gallery-, but also between age groups -younger adults stated that they liked contemporary art more and older adults enjoyed their museum experience more. We conclude that not only age differences, but also differences related to education and museum visitation frequency contributed to art appreciation. This research is important to demonstrate how people appreciate contemporary art and how they understand it. Therefore, these findings have relevant implications for the design of museum programs about contemporary art to engage different groups of visitors.
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Politowicz, Zak. "ANALYSIS AND METAPHOR SEARCH STRATEGY CONCERNING VISUAL WORKS OF ART (LANGUAGE, EDUCATION)". Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275390.

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Carpentier, René. "Concepts of empathy and the nature of aesthetic response applied to visual art appreciation /". The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu148733076121981.

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Marini, Ludovica Orsola Adriana. "Perception and representation in the visual brain and in visual art". Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428716.

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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty y School of Design. "Paint, painters and primary perception". THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
Master of Arts (Hons)
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Libros sobre el tema "Art appreciation Art Visual perception"

1

Exploring art. London: Laurence King, 2002.

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Principles of visual perception. 2a ed. London: Herbert, 1990.

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Bloomer, Carolyn M. Principles of visual perception. 2a ed. New York, NY: Design Press, 1990.

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Zelanski, Paul. The art of seeing. 8a ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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Zelanski, Paul. The art of seeing. 3a ed. Englewood Cliffs, N.J: Prentice-Hall, 1994.

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1943-, Fisher Mary Pat, ed. The art of seeing. 8a ed. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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Zelanski, Paul. The art of seeing. 4a ed. Upper Saddle River, N.J: Prentice-Hall, 1999.

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1943-, Fisher Mary Pat, ed. The art of seeing. 6a ed. Upper Saddle River, N.J: Prentice Hall, 2005.

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Zelanski, Paul. The art of seeing. 2a ed. Englewood Cliffs, N.J: Prentice-Hall, 1991.

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Joy, Richardson, ed. Showing distance in art. Milwaukee, WI: Gareth Stevens Pub., 2000.

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Capítulos de libros sobre el tema "Art appreciation Art Visual perception"

1

Styhre, Alexander. "Art: Visual Perception and the Aesthetic". En Perception and Organization, 44–99. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230584167_2.

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Herman, Gail N. "Teaching Visual Art History and Appreciation to Young Children". En Teaching Gifted Children, 211–12. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238638-42.

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Attwood, Jonathan E., Christopher Kennard, Jim Harris y Chrystalina A. Antoniades. "A Comparison of Change Blindness and the Visual Perception of Museum Artefacts in Real-World and On-Screen Scenarios". En Exploring Transdisciplinarity in Art and Sciences, 213–33. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76054-4_12.

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Herman, Melissa. "All that Glitters: The Role of Pattern, Reflection, and Visual Perception in Early Anglo-Saxon Art". En Sensory Perception in the Medieval West, 159–79. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.usml-eb.5.109509.

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Haakenson, Thomas O. "Science, Art, and the Question of the Visible: Rudolf Virchow, Hannah Höch, and “Immediate Visual Perception”". En Legacies of Modernism, 93–104. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230603189_8.

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Yi, Taeha, Mi Chang, Sukjoo Hong, Meereh Kim y Ji-Hyun Lee. "A Study on Understanding of Visitor Needs in Art Museum: Based on Analysis of Visual Perception Through Eye-Tracking". En Advances in Intelligent Systems and Computing, 1132–37. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39512-4_172.

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Sparrow, Laurent. "Variations in Visual Exploration and Physiological Reactions During Art Perception When Children Visit the Museum with a Mobile Electronic Guide". En Aesthetics and Neuroscience, 131–37. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46233-2_9.

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Weir, Catherine y Evans Mandes. "Creativity, Imagination, Perception, and Art". En Interpreting Visual Art, 203–17. Routledge, 2017. http://dx.doi.org/10.4324/9781351295444-11.

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Weir, Catherine y Evans Mandes. "Illusion, Motion Perception, and Depth". En Interpreting Visual Art, 113–29. Routledge, 2017. http://dx.doi.org/10.4324/9781351295444-7.

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Weir, Catherine y Evans Mandes. "Perceiving Art Is Accomplished in Steps, Customized for Efficient Perception". En Interpreting Visual Art, 57–77. Routledge, 2017. http://dx.doi.org/10.4324/9781351295444-4.

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Actas de conferencias sobre el tema "Art appreciation Art Visual perception"

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Bartolome, Jorge David Iranzo, Luis Cavazos Quero, Jundong Cho y Sunggi Jo. "Exploring Thermal Interaction for Visual Art Color Appreciation for the Visually Impaired People". En 2020 International Conference on Electronics, Information, and Communication (ICEIC). IEEE, 2020. http://dx.doi.org/10.1109/iceic49074.2020.9051245.

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Wahyuddin, Martono, Wahyuddin Ridwan y Martono Martono. "The Use of Media Audio Visual Learning Appreciation of Visual Art at Junior High School Class IX". En Proceedings of the International Conference on Art and Arts Education (ICAAE 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icaae-18.2019.4.

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Rahimi, Zahra y Laila Steen. "HOW CAN LIGHT ART MANIPULATE THE VISUAL PERCEPTION OF SPACE?" En The 22nd International Conference on Engineering and Product Design Education. The Design Society, 2020. http://dx.doi.org/10.35199/epde.2020.51.

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Stanton, Polly. "Embodied Listening: Exceeding the Restrictions of Visual Perception". En RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/resound19.12.

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Weber, Ralf, Yun Choi y Lawrence Stark. "The Impact of Formal Properties on Eye Movement during the Perception of Architecture". En 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.32.

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The project represented an initial attempt to record how the visual experience of architecture is influenced by various formal-geometric characteristics such as size, contrast, direction, symmetry, closure, etc., and how these factors may alter individual visual scan paths and affect awareness and appreciation of architectural designs. Results indicate that the eye does not trace shapes completely, but focuses on the overall arrangement of visual centers, major masses, and on objects with distinct formal differences from the overall set. Elements indicating spatial depth such as vistas receive special attention. There is a clear preference for the left area of a space. Redundant elements draw less attention than solitary shapes. Vertically and horizontally oriented objects are explored less than obliquely oriented shapes. More work using the methods of this study might provide important findings in the following three areas: scientific analysis of certain characteristic properties of architectural form and space long described by writers on architectural aesthetics; exploration of discrepancies in the perception of two-dimensional and three-dimensional representations of architectural form and space in the design process; and an evaluation of differences in the perception of architectural form and space by architects and non-architects.
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Hu, Kang y Zhe Yang. "The Shape Design Research Based on the Visual Perception Dynamics Theory". En 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.12.

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Zhang, Zhenya. "Applied Study on the Reproduction of Visual Perception in Photographic Creation". En 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.84.

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Yang, Ziqi. "Exploration on the Individuality of Visual Perception. Art Aesthetic Value Interpreted by Prize-winning Works of China Hand Drawing Art Design Competition". En 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.108.

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Santoso, Arief, Emi Widiyanti y Jazuli Munib. "Regeneration of MSMEs in The Industrial Revolution Era 4.0: In Millennial Generation Perception". En Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294891.

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Hertzberg, Jean y Alex Sweetman. "Impact and Outcomes of a Flow Visualization Course". En ASME 2009 Fluids Engineering Division Summer Meeting. ASMEDC, 2009. http://dx.doi.org/10.1115/fedsm2009-78480.

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For the past six years, a course on flow visualization has been offered to mixed teams of graduate and undergraduate engineering and fine arts photography students at the University of Colorado. The course has significant technical content on flow visualization and photographic techniques, and includes some emphasis on documentation and the interpretation of results, particularly with respect to atmospheric dynamics as revealed by clouds. What makes this course unusual is the emphasis on the production of images for aesthetic purposes: for art. While a number of art/science collaborations are growing worldwide, both in professional and academic communities, typically scientists are expected to contribute technical support while artists produce art. A particularly unusual aspect of this course is that all students are expected to demonstrate both aesthetic sensibility and scientific discipline. Another is that students are not constrained to study specific phenomena or use specific techniques; instead, creativity is required. A major outcome from this course is a series of stunning images. In addition, anecdotal evidence suggests that this course has a lasting impact on students’ perception of fluid physics, which can be contrasted to the effect of traditional introductory fluids courses. This raises the question of whether this impact is significant with respect to students’ understanding and appreciation of fluid mechanics, and if so, what aspect of the flow visualization course is most important? A survey instrument is being designed to quantify whether students’ awareness of fluid mechanics in the world around them changes when they take these courses and if students’ attitudes towards fluids is changed when they take these courses.
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