Art and Visual Perception

Arnheim, Rudolf

doi:10.1525/9780520351271

Cited by 1,190 publications

(200 citation statements)

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“…Our hypothesis is that when the oblique orientation and the degree of foreshortening of the structure of the tower is consistent with its perspectival position in the scene, as defined from the central point of observation of the double image, the obliqueness is not attributed to the tower, but to the perspective itself (independently of whether the tower is really leaning or not). Instead, when the orientation of the tower and its structural gradient are inconsistent with its perspectival position in the double image, the obliqueness is then better attributed to the tower itself (see Arnheim, 1974;Zanforlin & Vallortigara, 1988). In other words, reconsidering the original version of the LT illusion, we would say that the perspective inconsistency between the foreshortening gradients of the towers and the viewpoint of the observer of the double image increases the leaning of the Tower of Pisa located in the right- hand part of the image, while consistent perspective attribution actually reduces the leaning of the Tower located on the left, or at least somewhat reduces its tilt.…”

Section: Discussionmentioning

confidence: 99%

Increasing Perspectival Obliqueness Increases the Leaning Tower Illusion

Parovel

Costall

2018

i-Perception

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The leaning tower illusion is a perceptual illusion in which two identical images of a tower photographed from below appear to diverge when juxtaposed. We manipulated the perceived obliqueness of the (upright) St Mark bell tower in Venice by modifying two parameters both related to the position of the camera with respect to the tower: (a) increasing the peripherality of the tower and (b) reducing the distance between the camera and the tower. The resulting images clearly show that the illusory leaning effect increases as a function of the obliqueness. Another crucial condition for the leaning tower effect must be that the twin images are perceived as parts of a unitary display: The illusion increases when the distance between the photos is progressively increased, but beyond a certain level of separation, the integration of the images should, of course, break down, and the illusion vanish.

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Section: Discussionmentioning

confidence: 99%

Increasing Perspectival Obliqueness Increases the Leaning Tower Illusion

Parovel

Costall

2018

i-Perception

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“…The idea that the amount of information is an important determinant of beauty has a long history in aesthetics (e.g., Arnheim, 1974;Gombrich, 1984). In psychology, relevant research has mostly been conducted in the Gestalt tradition.…”

Section: Objective Features Of Stimulimentioning

confidence: 99%

Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?

Reber

Schwarz

Winkielman

2004

Pers Soc Psychol Rev

2,147

144

1,940

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We propose that aesthetic pleasure is a function of the perceiver's processing dynamics: The more fluently perceivers can process an object, the more positive their aesthetic response. We review variables known to influence aesthetic judgments, such as figural goodness, figure-ground contrast, stimulus repetition, symmetry, and prototypicality, and trace their effects to changes in processing fluency. Other variables that influence processing fluency, like visual or semantic priming, similarly increase judgments of aesthetic pleasure. Our proposal provides an integrative framework for the study of aesthetic pleasure and sheds light on the interplay between early preferences versus cultural influences on taste, preferences for both prototypical and abstracted forms, and the relation between beauty and truth. In contrast to theories that trace aesthetic pleasure to objective stimulus features per se, we propose that beauty is grounded in the processing experiences of the perceiver, which are in part a function of stimulus properties.What is beauty? What makes for a beautiful face, appealing painting, pleasing design, or charming scenery? This question has been debated for at least 2,500 years and has been given a wide variety of answers (Feagin, 1995;Tatarkiewicz, 1970). However, one can broadly distinguish three main positions. Many theorists, dating back at least to Plato, saw beauty as a property of an object that produces a pleasurable experience in any suitable perceiver (Tatarkiewicz, 1970). This objectivist view inspired many psychological attempts to identify the critical contributors to beauty. Among the identified features were balance and proportion (Arnheim, 1974; Birkhoff, 1933;Fechner, 1876;Gombrich, 1995), symmetry (Arnheim, 1974; Birkhoff, 1933;Gombrich, 1984;Humphrey, 1997), informational content and complexity (Berlyne, 1971(Berlyne, , 1974Eysenck, 1941;Garner, 1974), as well as contrast and clarity (Gombrich, 1984(Gombrich, , 1995 St. Thomas of Aquinas, see Maritain, 1966;Solso, 1997). The objectivist view of beauty was so dominant in the 16th century that artists introduced pattern books, offering pictorial elements that artists could copy and combine with each other to create beauty (see Gombrich, 1995).Other theorists, dating back at least to the Sophists, proposed that anything could be beautiful if it pleases the senses (Tatarkiewicz, 1970). From this perspective, beauty is a function of idiosyncratic qualities of the perceiver and all efforts to identify the laws of beauty are futile. This subjectivist view, reflected in expressions like "beauty is in the eye of the beholder" or "de gustibus non est disputandum" (taste cannot be debated), underlies the social constructivist emphasis on the historically changing and culturally relative nature of beauty (see Kubovy, 2000).Most modern philosophical analyses, however, reject the objective versus subjective distinction. Instead, they suggest that a sense of beauty emerges from patterns in the way people and objects relate (e.g., Ing...

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“…Foreign researchers of the theoretical foundations of students ' creative activity pay great attention to the study of certain aspects of the stated problem. R. Arnheim devoted his many years of research to the consideration of one of the main elements of artistic, creative activity -art and visual perception, describing it as a process of intellectual cognition [8]. J. Elkins noted the importance of visualization as an agent of culture [9, p. 5].…”

Section: Discussionmentioning

confidence: 99%

The importance of outdoor lessons for students

Zinchenko

2021

E3S Web Conf.

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In the article, we consider the problems of teaching painting to students of art specialties in plein air practice. Based on a historical study of the stages of development and formation of landscape as an independent genre in the fine arts, the specifics, and features of teaching the art of painting in the open air are determined. The definition of the concept “Motif in the fine arts” is being clarified. The dependence of the format of practical tasks and stages of work on a pictorial etude on the goals and objectives of teaching painting in the plein air is established. Research methods: analysis of literature on the research problem (art history, theory, and methods of teaching fine arts, etc.); student work performed in plein air practice; works of famous artists; survey of students and teachers. The results of the research can be used in the process of teaching painting to bachelors, masters, and specialists in the field of painting, graphics, design, architecture.

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Art and Visual Perception

Cited by 1,190 publications

References 0 publications

Increasing Perspectival Obliqueness Increases the Leaning Tower Illusion

Increasing Perspectival Obliqueness Increases the Leaning Tower Illusion

Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?

The importance of outdoor lessons for students

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