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Artículos de revistas sobre el tema "Perception of art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Teodora, Hubenco. "Artistic Perception of Visual Art Works - Imperative of Art Education." Journal of Educational Theory and Practice DIDACTICA PRO... 22, no. 2-3 (132-133) (2022): 20–23. https://doi.org/10.5281/zenodo.6685274.

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 The complexity of artistic perception is defined by the contradictions between subjective and objective, by the rapport between the rational and the emotional, real perceptions and creative abilities. Artistic perception is a complex matter that requires a multilayered approach: the development of perception in an emotional-logical way; the union of the act of artistic creation with the act of artistic perception; the decoding of the visual creative language through the lens of the sensibilities of the individual receptor; the manifestation of the received message by the receptor; the un

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2

Young, Bernard. "Children' Perception about Art." Art Education 38, no. 6 (1985): 47. http://dx.doi.org/10.2307/3192879.

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3

Herman, Amy E. "The Art of Perception." Journal of Museum Education 36, no. 1 (2011): 81–89. http://dx.doi.org/10.1080/10598650.2011.11510686.

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4

Pavia, Luke, Simon Grima, Inna Romanova, and Jonathan V. Spiteri. "Fine Art Insurance Policies and Risk Perceptions: The Case of Malta." Journal of Risk and Financial Management 14, no. 2 (2021): 66. http://dx.doi.org/10.3390/jrfm14020066.

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The aim of this paper is to identify the risks that need to be addressed when holding fine art, determine which are perceived as being the most important, and whether the risk perception is influenced by demographic variables such as age, educational background, and field of occupation. To identify the risks and evaluate the risk perception, we used a purposely designed questionnaire and sent it via various sources of communication systems and applications to individuals knowledgeable on fine arts. Findings revealed that, generally, art deterioration, art fraud, and art theft are the three mai

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5

Pawlik, Jacek Jan. "Perception/Reception." Roczniki Kulturoznawcze 13, no. 4 (2022): 145–47. http://dx.doi.org/10.18290/rkult22134.20.

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The presented statement is part of the volume it covers a variety of responses from people who interact with art in different ways. The aim is to suggest to the participant of the contemporary world a new, personal perspective to rethink what is this area of our world that we label with art; thoughts with and without theoretical suggestions - reflections by the creators and reflections by the audience, teaching humility and uniqueness, perhaps - forming a fresh perspective on art.

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6

Sasmita, Husni. "Persepsi Siswa terhadap Kurikulum 2013 Mata Pelajaran Seni Budaya Pada Kelas VII.3 di SMP Negeri 13 Pekanbaru Tahun pelajaran 2016/2017." Instructional Development Journal 1, no. 1 (2018): 22. http://dx.doi.org/10.24014/idj.v1i1.6417.

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This study aims to determine and describe student perceptions towards the 2013 curriculum on art and culture subjects (music arts) in Public Middle School 13 Pekanbaru. The perception in question is the response of students to the 2013 curriculum in the eye art and culture lessons (music arts). Based on the results of this study, it can be concluded that students in the State Junior High School 13 Pekanbaru in the 2016/2017 school year have a good perception 2013 curriculum. This is evidenced from 40 respondents, there are 10 students (25%) have a good perception, 18 students (45%) have fairly

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7

Anak, Agung Sagung Sawitri, Nyoman Sutarsa I, Parwati Merati Tuti, Bakta Made, and Nyoman Wirawan Dewa. "Perceptions dynamics about antiretroviral treatment among HIV patients in Bali." International Journal of Public Health Science (IJPHS) 10, no. 3 (2021): 500~507. https://doi.org/10.11591/ijphs.v10i3.20917.

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Perceptions of people living with HIV and AIDS (PLHIV) about antiretroviral treatment (ART) is crucial for improving adherence. This study aims to examine the dynamics of perceptions during the early phase of ART. A longitudinal study involving newly diagnosed PLHIV was conducted. Interviews were carried out at the time of HIV diagnosis and at three months after ART initiation. Data were analyzed by comparing proportion of good perception across the continuum of HIV diagnosis, ART initiation and three-months follow-up, and were tested using Chi-square. From 170 PLHIV participated in the study,

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8

Sawitri, Anak Agung Sagung, I. Nyoman Sutarsa, Tuti Parwati Merati, Made Bakta, and Dewa Nyoman Wirawan. "Perceptions dynamics about antiretroviral treatment among HIV patients in Bali." International Journal of Public Health Science (IJPHS) 10, no. 3 (2021): 500. http://dx.doi.org/10.11591/ijphs.v10i3.20917.

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Perceptions of people living with HIV and AIDS (PLHIV) about antiretroviral treatment (ART) is crucial for improving adherence. This study aims to examine the dynamics of perceptions during the early phase of ART. A longitudinal study involving newly diagnosed PLHIV was conducted. Interviews were carried out at the time of HIV diagnosis and at three months after ART initiation. Data were analyzed by comparing proportion of good perception across the continuum of HIV diagnosis, ART initiation and threemonths follow-up, and were tested using Chi-square. From 170 PLHIV participated in the study,

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9

MacQueen, J. C. "Pure Perception: God as Art." International Journal of Religion and Spirituality in Society 1, no. 1 (2011): 45–56. http://dx.doi.org/10.18848/2154-8633/cgp/v01i01/51192.

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10

Gorglione, Nancy, and Brigitte Burgmer. "Holographic Art: Perception, Evolution, Future." Leonardo 22, no. 3/4 (1989): 439. http://dx.doi.org/10.2307/1575414.

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11

Nadaner, Dan. "Teaching Perception through Video Art." Art Education 61, no. 1 (2008): 19–24. http://dx.doi.org/10.1080/00043125.2008.11518983.

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12

Jacquette, Dale. "Art, Expression, Perception and Intentionality." Journal of Aesthetics and Phenomenology 1, no. 1 (2014): 63–90. http://dx.doi.org/10.2752/20539339xx14005942183973.

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13

Edensor, Tim. "Light Art, Perception, and Sensation." Senses and Society 10, no. 2 (2015): 138–57. http://dx.doi.org/10.1080/17458927.2015.1042228.

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14

Amanullah, Juni, and Fivin Bagus Septiya Pambudi. "“PSIKOLOGISENI” SENIMAN ANTARA PERSEPSI, FANTASI DAN EMOSI." SULUH: Jurnal Seni Desain Budaya 4, no. 1 (2021): 89–103. http://dx.doi.org/10.34001/jsuluh.v4i1.2422.

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In the science of human psychology is a creature that has a soul and in a life that has a soul that is reflected in human behavior and activities in their daily lives. Beauty or aesthetics is something that is related to something beautiful and a special taste in enjoying it. In art life when an artist feels a lot of what is inside him, the results will be divested into a work of art. From the two disciplines of science between psychology and art, the writer uses psychological methods, namely perception, fantasy, feeling and emotion to dissect in the life of art with a subject, namely artists.

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15

Lucas, Tamara. "The art of perception: pointillism, pattern, and Optical art." Lancet 390, no. 10102 (2017): 1579. http://dx.doi.org/10.1016/s0140-6736(17)32488-1.

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16

Maryam Saif. "Art Education and Students' Perception of Fine Art Teachers." Al-Qamar 6, no. 4 (2023): 147–64. https://doi.org/10.53762/17wxj593.

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Art education plays a crucial role in fostering creativity, critical thinking, and cultural appreciation among students. Central to the effectiveness of art education is the role of fine art teachers who serve as mentors, guides, and facilitators in the learning process. This abstract explores the perceptions of art education and students' perceptions of their fine art teachers, shedding light on the impact of teacher-student dynamics on the overall educational experience. The study employs a mixed-methods approach, combining surveys and interviews to gather data from a diverse sample of stude

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17

Nale, Katie. "Twisted Perception." Lighting Design + Application 50, no. 9 (2020): 34–38. https://doi.org/10.1177/036063252005000910.

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18

Sırmalı, Evrim. "Sanat Eğitiminde Algı Çeşitliliğinin Gestalt İlkeleri ile Uygulanması." Uluslararası Sanat Tasarım ve Eğitim Dergisi 1, no. 1 (2020): 17–24. https://doi.org/10.5281/zenodo.7360142.

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Man needs sensations in order to survive in the environment he is in. In order to realize artistic expression and understanding, everyone needs to do different things from what they feel. It is important to recognize and remember the warnings coming from the environment, people, objects and symbols. The formation of visual information through perceptions varies according to individuals and personal experiences. It has been observed that students studying in the field of plastic arts primarily use their visual perceptions, but a one-way perception accumulation is not enough to develop their cre

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19

Kolisnyk, O. V., and M. O. Kovalenko. "NAIVE ART: FEATURES OF CREATIVE PERCEPTION." Art and Design, no. 3 (December 13, 2021): 45–53. http://dx.doi.org/10.30857/2617-0272.2021.3.4.

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The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the

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20

Vasilishina, Elena Nikolayevna. "Subjective Aspects of Art Discourse Perception." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 13, no. 2 (2013): 20–24. http://dx.doi.org/10.18500/1817-7115-2013-13-2-20-24.

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21

Thompson, Currie K. "Perception and Art: Water Imagery inNada." Kentucky Romance Quarterly 32, no. 3 (1985): 291–300. http://dx.doi.org/10.1080/03648664.1985.9928310.

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22

Wilson, Amanda. "Multistable Perception of Art-Science Imagery." Leonardo 45, no. 2 (2012): 156–64. http://dx.doi.org/10.1162/leon_a_00282.

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How do artists, scientists and artist-scientists view images, and how does their cultural background affect their interpretation? The author proposes that artist-scientists may exhibit cultural multistability, akin to the perceptual multistability associated with viewing visual illusions such as the Necker cube. After carrying out a survey, the author suggests that all individuals may exhibit cultural multistability in response to a challenging image. The author postulates a tendency of artist-scientists to use textural descriptions and discusses coming to see her own images in a new light.

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23

Albers, Lucia H. "The Perception of Gardening as Art." Garden History 19, no. 2 (1991): 163. http://dx.doi.org/10.2307/1586892.

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24

Pahomov, George S. "Essential Perception: Čechov and Modern Art." Russian Literature 35, no. 2 (1994): 195–202. http://dx.doi.org/10.1016/0304-3479(94)90032-9.

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25

Chistopolskaya, Alexandra V., Denis L. Karpov, and Svetlana A. Trifonova. "Phenomenological analysis of the art perception." Vestnik Yaroslavskogo gosudarstvennogo universiteta im. P. G. Demidova. Seriya gumanitarnye nauki 17, no. 2 (2023): 298. http://dx.doi.org/10.18255/1996-5648-2023-2-298-307.

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The article presents some results of a qualitative study of the phenomenology of perception of art. As the main results, we received an aesthetic preference for the directions of realism and impressionism by most of the subjects. Aesthetic experience can be described in the categories of rational and emotional. The aesthetic evaluation of paintings is dominated by rational categories. The category of emotional is highly differentiated and includes various types of emotions: ethical, aesthetic, hedonistic and everyday.

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26

Arthur, C. Danto. "Spirit and the perception of art." Disputatio. Philosophical Research Bulletin 1, no. 2 (2012): 5–14. https://doi.org/10.5281/zenodo.5062975.

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Today art can be made of anything, put together with anything, in the service of presenting any ideas whatever. That puts great interpretative pressures on viewers to grasp the way the spirit of the artist undertook to present the ideas that concerned her or him. The embodiment of ideas or meanings is perhaps all we require as a philosophical theory of what art is. But doing the criticism that consists in finding the way the idea is embodied varies from work to work. No hay reglas en las artes.

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27

J., Philippe Thompson. "Art is All: Proust's Life Lessons Through Perception and Art." Art Style, Art & Culture International Magazine 10, no. 10 (2022): 87–104. https://doi.org/10.5281/zenodo.7020568.

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Art Style | Art & Culture International Magazine Abstract For Proust, why does error precede truth? In his <em>In Search of Lost Time</em>, Proust seems to paint his narrator’s errors in his search for truth. To understand <em>In Search of Lost Time</em>, one must unlock Proust’s formula or secret code. Scholars have explored Proust’s “optical illusions” with an emphasis on optics or as part of contemporary art movements. Our discussion examines what Proust called the “medley of impressions which we call vision,” or, in artistic terms, wh

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28

Miralay, Fatma, and Ziynet Egitmen. "Aesthetic perceptions of art educators in higher education level at art classes and their effect on learners." Cypriot Journal of Educational Sciences 14, no. 2 (2019): 352–60. http://dx.doi.org/10.18844/cjes.v14i2.4242.

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The objective of this study is to examine the aesthetic awareness of art education academicians working in different higher education institutions of Turkish Republic of Northern Cyprus. Qualitative method and descriptive analysis were used in the study. A semi-structured interview form was created to reveal the views of academicians, and interviews were conducted to determine the levels of aesthetic competence with art education. The results of the research reveals that there is a relatively high level of aesthetic competence among the art educators who participated in the study. The particip

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Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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Wahed, Wan Juliana Emeih, Valerie Chan Sue Lin Abdullah, Noorhayati Saad, and Saiful Bahari Mohd Yusoff. "The Aesthetic Perception of Pua Kumbu Textile: A Holistic Exploration." Idealogy Journal 8, no. 1 (2023): 115–24. http://dx.doi.org/10.24191/idealogy.v8i1.411.

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Experiencing art is a complex phenomenon to grasp. The difficulty in comprehending the Pua Kumbu textile relates to several factors influencing participants' aesthetic perception, such as art knowledge, gender, and cultural background. Individuals with all these factors can better comprehend the art piece's values. Thus, the purpose of this study is to use the ARS-Revised questionnaire to assess the aesthetic perception of 400 participants about the Pua Kumbu textiles based on their gender and background. The findings revealed that the participants' positive aesthetic perception of the Pua Kum

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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.

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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial

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Benjamin, Garfield. "Indistinguishable from Magic: Perception, Knowledge, Technology, Art." Leonardo 53, no. 5 (2020): 510–14. http://dx.doi.org/10.1162/leon_a_01739.

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The term magic has long been associated with both technology and art. Whether an illusion performed on stage or the search for the supernatural, magic is concerned with changing either reality itself or our perception of it. Each new technology takes on a magical role by increasing humans' power to manipulate the world around them. Similarly, magical practices are often labeled arts, and the manipulation of our perceptions by artists often creates quasi-magical experiences. Four approaches to magic in relation to digital art practice—illusionist, alchemist, necromancer and sorcerer—offer a mod

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Gut’ko, Ekaterina Yu. "THE ESSENCE OF THE STRUCTURAL-COGNITIVE MODEL OF CONSUMER PERCEPTION OF CULTURE AND ART IN MARKETING." EKONOMIKA I UPRAVLENIE: PROBLEMY, RESHENIYA 6/1, no. 147 (2024): 158–63. http://dx.doi.org/10.36871/ek.up.p.r.2024.06.01.021.

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It is determined that the modern approach to art presupposes successful perception and understanding due to previous, and often negative experience, movement towards moments of enlightenment, pleasure and conceptual or perceptual transformation. A person is left without the means to account for fundamental changes in artistic experience, which in turn has led to a simplified concept of perception of art itself, often divorced from the personal beliefs and identity of the consumer, limiting his ability to separate and organize perception, as well as explain and combine cognitive, emotional and

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Nurke, M. S. "The Effectiveness of Using Visual Art Tools in Noosphere Education: An Example of Determining Motivation to Perceive." Pedagogy and Psychology 48, no. 3 (2021): 130–41. http://dx.doi.org/10.51889/2021-3.2077-6861.15.

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The article considers the introduction of the concept of "visual art" into the Kazakh language, in the context of the history of world contemporary art and and the trends of its development, also relevance and preparing students for the "perception of visual art". Based on the scientific works of noosphere education which investigated the evolution of the formation of the brain contour as levels of human thinking, the author offers a "sequential chain of visual art perception", defining "internal needs" (motivations) and "external needs" of students in visual perception. "Brain contour level,

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Kojo Kokro, Francis, Ndah Divine Selorm, Emmanuel Amankwah, and Alidu Tahiru Rajab. "VISUAL ARTS PROGRAMMES OFFERED IN TAMALE TECHNICAL UNIVERSITY: THE PUBLIC PERCEPTION." International Journal of Education Humanities and Social Science 08, no. 03 (2025): 452–63. https://doi.org/10.54922/ijehss.2025.1010.

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The role of Art is indispensable in the socio-economic development of Ghana; unfortunately, in this present Ghana people have had wrong perceptions about Visual Art and this has brought about unfair criticism by the general public, instead of appreciating the significance of Visual Art Education and accepting it as part of our culture. The study looked at the perception of the general public with regards to the study of Visual Art programme in Tamale Technical University. The main instrument for the study was the questionnaire, which was designed by the researchers and validated. The total of

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Park, Sangwoo. "Aerial Image's Influence on Modern Art : Perception, Sensation, Avant-Grade Art." Korean Association for Visual Culture 39 (December 31, 2021): 5–32. http://dx.doi.org/10.21299/jovc.2021.39.1.

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Cela-Conde, Camilo J., Gisèle Marty, Enric Munar, Marcos Nadal, and Lucrecia Burges. "The “Style Scheme” Grounds Perception of Paintings." Perceptual and Motor Skills 95, no. 1 (2002): 91–100. http://dx.doi.org/10.2466/pms.2002.95.1.91.

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We studied the formation of style scheme (identification of the style that characterizes an artist) presenting 100 participants aesthetic visual stimuli. Participants were Spanish university students who volunteered: 72 women, 28 men of mean age 22.8 yr. Among those 50 were enrolled in History of Art and 50 students in Psychology. Stimuli belonged to different categories—High Art (pictures of well-known artists, like Van Gogh)/Popular Art (decorative pictures like Christmas postcards) and Representational (pictures with explicit meaning content, like a landscape)/Abstract (pictures without exp

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Son, YoungEun, and DongHun Jeong. "The analysis of the impact of an art subject-linked invention education program on elementary school students' perception of the art subject." Korean Association For Learner-Centered Curriculum And Instruction 24, no. 8 (2024): 77–93. http://dx.doi.org/10.22251/jlcci.2024.24.8.77.

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Objectives Although the Korean Intellectual Property Office and the Korea Invention Promotion Association have so far promoted invention education focused on after-school education, with the announcement of the ‘2030 Vision of fostering intellectual property competency’, the organizations are actively promoting the implementation of invention education within regular class hours. To refine this direction of invention education, an invention education program linked to three regular curriculum subjects was developed in 2022. This study intended to analyze how the application of an art-related i

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Campaner, Miguel. "Cinema and architecture: Modern perception." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 511–18. http://dx.doi.org/10.5937/saj1903511c.

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Walter Benjamin's essay on cinema expounds his prognostic values. By the time he wrote this article his critique of the capitalistic mode of production showed the direction in which capitalism was progressing: towards an increasing intensity in exploitation of the proletariat, but also its own decline. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role

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Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, of

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Martynova, Polina G. "Perception of Visual Images in the Psychology of Art." SMALTA, no. 1 (April 22, 2023): 83–92. http://dx.doi.org/10.15293/2312-1580.2301.08.

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The article presents a theoretical analysis of the phenomenology of visual perception in the psychology of fine art. Aspects of perception as one of the mental functions and visual images as meaningful perceptual phenomena are analyzed. The question of the predestination of perception, its development and foundations is discussed. With the help of the analysis of many fundamental sources, the main characteristic of visual perception, influence on modern culture and human thinking has been established. The possibilities of applying the psychology of art in psychological counseling are described

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Zimmer, Robert. "Abstraction in art with implications for perception." Philosophical Transactions of the Royal Society of London. Series B: Biological Sciences 358, no. 1435 (2003): 1285–91. http://dx.doi.org/10.1098/rstb.2003.1307.

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The relationship between people and art is complex and intriguing. Of course, artworks are our creations; but in interesting and important ways, we are also created by our artworks. Our sense of the world is informed by the art we make and by the art we inherit and value, works that, in themselves, encode others' world views. This two-way effect is deeply rooted and art encodes and affects both a culture's ways of perceiving the world and its ways of remaking the world it perceives. The purpose of this paper is to indicate ways in which a study of abstraction in art can be used to discover ins

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Seth, Anil K. "From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience." European Review 27, no. 3 (2019): 378–410. http://dx.doi.org/10.1017/s1062798719000061.

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Science and art have long recognized that perceptual experience depends on the involvement of the experiencer. In art history, this idea is captured by Ernst Gombrich’s ‘beholder’s share’. In neuroscience, it traces to Helmholtz’s concept of ‘perception as inference’, which is enjoying renewed prominence in the guise of ‘prediction error minimization’ (PEM) or the ‘Bayesian brain’. The shared idea is that our perceptual experience – whether of the world, of ourselves, or of an artwork – depends on the active ‘top-down’ interpretation of sensory input. Perception becomes a generative act, in wh

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Desa, Noor Enfendi, Noor A'yunni Muhamad, Syed Alwi Syed Abu Bakar, and Azian Tahir. "Perception on Si + Sa as a Theme in a Work of Art Entitled “Free Memories”." Idealogy Journal 6, no. 2 (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

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Galvan, R. "EE/UU: Exquisite expression/unsettling utterance." Cultural Dynamics 29, no. 3 (2017): 186–92. http://dx.doi.org/10.1177/0921374017727855.

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Through the act of making art and writing about it, the essay documents and expands on how Latinx is given meaning. The work draws upon personal experience and visual art research to consider observational strategies for sharing and shaping the perception of Latinx.

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V. Lubovsky, Dmitry. "The Perception of Art as a Higher Mental Function." Revue internationale du CRIRES : innover dans la tradition de Vygotsky 4, no. 1 (2017): 77–79. http://dx.doi.org/10.51657/ric.v4i1.40995.

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The concept of higher mental functions applied to the perception of artworks. Considering art as a system of means for mastering of emotions and feelings, the authorshows that this interpsychic system of means for mastering the feelings and emotions through the pro-cessing of aesthetic experience is a conscious, mediated by speech and arbitrary dynamic system of artistic images perception and the processing of aesthetic experience. Perception of artworks becomes arbitrary, if a person realizes the cultural norm of relation to the arts, representing the ability and desire of the viewer to see i

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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, no. 2 (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

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Caws, Mary Ann. "Perspectives on Perception: Philosophy, Art, and Literature." Journal of Aesthetics and Art Criticism 48, no. 3 (1990): 266. http://dx.doi.org/10.2307/431783.

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Arnheim, Rudolf. "The State of the Art in Perception." Leonardo 20, no. 4 (1987): 305. http://dx.doi.org/10.2307/1578523.

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Hagtvedt, Henrik, Vanessa M. Patrick, and Reidar Hagtvedt. "The Perception and Evaluation of Visual Art." Empirical Studies of the Arts 26, no. 2 (2008): 197–218. http://dx.doi.org/10.2190/em.26.2.d.

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