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Explores questions relating to the nature of representation in art. It asks how we recognize likeness in caricatures or portraits, for instance, and presents the conflicting arguments and opinions of an art historian, a psychologist and a philosopher.
A complex and fascinating question is why do humans have such strong emotional reactions and human connections to art? Why do viewers become scared, even haunted for days, by a movie monster they know doesn't exist? Why do humans become enthralled by distorted figures and scenes that aren't realistic? Why do viewers have emotional attachments to comic book characters? The answer lies in that, while humans know art is human made artifice, they view and decipher art using the same often nonconscious methods that they use to view and decipher reality. Looking at how we perceive reality shows us how we perceive art, and looking at how we perceive art helps show us how we perceive reality. Written by the prominent art historian and philosopher Cycleback, this book is a concise introduction to understanding art perception, covering key psychological, cognitive science, physiological and philosophical concepts.
This book looks at a refined selection of drawings by Alberto Giacometti and examines them against the background provided by more than one hundred letters exchanged between Giacometti and his parents, the majority of which have not previously been published. The choice of drawings and the selected correspondence illuminate important aspects of the development of Giacometti's work over five decades of his life. Furthermore, Patrick de Vries examines Alberto Giacometti's friendships with important contemporary artists such as Pablo Picasso, Francis Gruber, Balthus, and Tal-Coat, and discloses the artists' views of each other, as well as links and dissimilarities in their work. Discussions with Giacometti's friend, the Japanese philosopher Isaku Yanaihara, reveal interesting insights into the, rarely discussed, subject of Giacometti's fascination with East Asian Art.
Can we trust our senses to tell us the truth? Challenging leading scientific theories that claim that our senses report back objective reality, cognitive scientist Donald Hoffman argues that while we should take our perceptions seriously, we should not take them literally. From examining why fashion designers create clothes that give the illusion of a more “attractive” body shape to studying how companies use color to elicit specific emotions in consumers, and even dismantling the very notion that spacetime is objective reality, The Case Against Reality dares us to question everything we thought we knew about the world we see.
Synesthesia is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. In one common form of synesthesia for instance letters or numbers are perceived as inherently colored. People who report a lifelong history of such experiences are known as synesthetes. 00'Layers of Reality' is both a personal and a semi-scientific research into synesthesia. Anna Püschel, a synesthete herself, experiences colours when looking at images. With this research she questions her conception of reality. Using a large database of images she investigates the origin, consistency and subjectivity of her synesthesia, in an attempt to answer the question: "Am I mad?"
Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. Suspensions of Perception is a major historical study of human attention and its volatile role in modern Western culture. It argues that the ways in which we intently look at or listen to anything result from crucial changes in the nature of perception that can be traced back to the second half of the nineteenth century. Focusing on the period from about 1880 to 1905, Jonathan Crary examines the connections between the modernization of subjectivity and the dramatic expansion and industrialization of visual/auditory culture. At the core of his project is the paradoxical nature of modern attention, which was both a fundamental condition of individual freedom, creativity, and experience and a central element in the efficient functioning of economic and disciplinary institutions as well as the emerging spaces of mass consumption and spectacle. Crary approaches these issues through multiple analyses of single works by three key modernist painters—Manet, Seurat, and Cezanne—who each engaged in a singular confrontation with the disruptions, vacancies, and rifts within a perceptual field. Each in his own way discovered that sustained attentiveness, rather than fixing or securing the world, led to perceptual disintegration and loss of presence, and each used this discovery as the basis for a reinvention of representational practices. Suspensions of Perception decisively relocates the problem of aesthetic contemplation within a broader collective encounter with the unstable nature of perception—in psychology, philosophy, neurology, early cinema, and photography. In doing so, it provides a historical framework for understanding the current social crisis of attention amid the accelerating metamorphoses of our contemporary technological culture.
The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington
How space – mental, emotional, visual – is implicated in our constructions of reality and our art is the focus of this set of innovative essays. For the first time art theorists and historians, visual artists, literary critics and philosophers have come together to assay the problem of space both within conventional discipline boundaries and across them. What emerges is a stimulating discussion of the problem of embodied space and situated consciousness that will be of interest to the general reader as well as specialists working in the fields of art history and art practice, literature, philosophy and education.
Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called “Perception Photo Series,” it confronted common stereotypes of First Nation, Inuit and Métis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg’s downtown buildings, Adams’s stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.
Fascination with quotidian experience in modern art, literature, and philosophy promotes ecstatic forms of reflection on the very structure of the everyday world. Gosetti-Ferencei examines the ways in which modern art and literature enable a study of how we experience quotidian life. She shows that modernism, while exhibiting many strands of development, can be understood by investigating how its attentions to perception and expectation, to the common quality of things, or to childhood play gives way to experiences of ecstasis&—the stepping outside of the ordinary familiarity of the world. While phenomenology grounds this study (through Husserl, Heidegger, Merleau-Ponty, and Bachelard), what makes this book more than a treatise on phenomenological aesthetics is the way in which modernity itself is examined in its relation to the quotidian. Through the works of artists and writers such as Benjamin, C&ézanne, Frost, Klee, Newman, Pollock, Ponge, Proust, Rilke, Robbe-Grillet, Rothko, Sartre, and Twombly, the world of quotidian life can be seen to harbor a latent ecstasis. The breakdown of the quotidian through and after modernism then becomes an urgent question for understanding art and literature in its capacity to further human experience, and it points to the limits of phenomenological explications of the everyday.