This book reviews progress and describes original research in the cognitive psychology of the arts. The invited contributors are leading authorities, and the topics which they cover include psychological approaches to symbols and meaning in art, issues in experimental aesthetics, the development in children of artistic production and appreciation, and the perception of musical and pictorial material.

Interpreting Visual Art explores the psychological and cognitive mechanisms that underlie one's interpretation of art. After the brain encodes visual information, this encoding is then processed by perceptual mechanisms to identify objects and depth in pictures. The brain incorporates many factors in order for people to "see" the art. Cognitive processes have a major role in how people interpret artworks because attention, memory, and language are also linked to the aesthetic experience. Catherine Weir and Evans Mandes first examine major attributes of aesthetic judgement - balance, symmetry, color, line, and shape - from an empirical point of view as opposed to more philosophical and speculative approaches. Then, they explore the perceptual process, paying special attention to art history in the Western world and emphasizing techniques from cave paintings to modern art. The role beauty and emotions play in our interpretations of pictures have been investigated from many approaches: evolutionary psychology, neuroscience, and appraisal theory. Through the application of empirical research in cognitive science to master works from Botticelli to Pollock, readers are introduced to a research-oriented understanding of how art has been perceived, interpreted, and appreciated in the twenty-first century. This book will appeal to those interested in art as well as those teaching art history, psychology, and neuroscience.

This book examines how contemporary artworks can affect our psychology, producing immersive experiences.

A 50-year-old classic, which was revised and expanded in 1974. Explains how the eye organizes visual material according to psychological laws.

Perceptual and Cognitive Development illustrates how the developmental approach yields fundamental contributions to our understanding of perception and cognition as a whole. The book discusses how to relate developmental, comparative, and neurological considerations to early learning and development, and it presents fundamental problems in cognition and language, such as the acquisition of a coherent, organized, and shared understanding of concepts and language. Discussions of learning, memory, attention, and problem solving are embedded within specific accounts of the neurological status of developing minds and the nature of knowledge. - Research advances and theoretical reorientations are updated in the Second Edition; the revision focuses more attention on the cognitive and biological sciences and neuroscience - Illustrates how the developmental approach can yield fundamental contributions to our understanding of perception and cognition as a whole - Discussions of learning, memory, and attention permeate individual chapters

This volume addresses key questions related to how content in thought is derived from perceptual experience. It includes chapters that focus on single issues on perception and cognition, as well as others that relate these issues to an important social construct that involves both perceptual experience and cognitive activities: aesthetics. While the volume includes many diverse views, several prominent themes unite the individual essays: a challenge to the notion of the discreet, and non-temporal, unit of perception, a challenge to the traditional divide between perception and cognition, and a challenge to the traditional divide between unconscious and conscious intentionality. Additionally, the chapters discuss the content of perceptual experience, the value of traditional notions of content, disjunctivism, adverbialism, and phenomenal experience. The final section of essays dealing with perception and cognition in aesthetics features work in experimental aesthetics and unique perspectives from artists and gallerists working outside of philosophy. Perception, Cognition and Aesthetics is a timely volume that offers a range of unique perspectives on debates in philosophy of mind surrounding perception and cognition. It will also appeal to scholars working in aesthetics and art theory who are interested in the ways these debates influence our understanding of art.

Graphic displays such as charts, graphs, diagrams, and maps play in important role today in the design and presentation of instructional materials education. There is also a strong need in scientific, technical and administrative fields to visually present facts, laws, principles etc. The increasing use of computer-based learning environments has also become an important field where the visual presentation of information plays a central role. Despite the importance of graphical displays as a means of communication and the fact that research about learning and cognition has advanced rapidly in the past two decades, the comprehension of graphics is still a rather unexplored area.The comprehension of graphics is not only a stimulating topic in the fields of science and instructional psychology, but also in related disciplines such as semiotics, and artificial intelligence. Research on the comprehension of graphics complements the scientific investigation of cognitive processes in text comprehension, which has contributed much to our understanding of human cognition and learning. Ultimately, a better understanding of the cognitive processes involved in the comprehension of graphics will have an impact not only on cognitive theory, but also on educational practice.

This book uses insights from the cognitive sciences to illuminate Kafka’s poetics, exemplifying a paradigm for literary studies in which cognitive-scientific insights are brought to bear directly on literary texts. The volume shows that the concept of "cognitive realism" can be a critically productive framework for exploring how textual evocations of cognition correspond to or diverge from cognitive realities, and how this may affect real readers. In particular, it argues that Kafka’s evocations of visual perception (including narrative perspective) and emotion can be understood as fundamentally enactive, and that in this sense they are "cognitively realistic". These cognitively realistic qualities are likely to establish a compellingly direct connection with the reader’s imagination, but because they contradict folk-psychological assumptions about how our minds work, they may also leave the reader unsettled. This is the first time a fully interdisciplinary research paradigm has been used to explore a single author’s fictional works in depth, opening up avenues for future research in cognitive literary science.

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.

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.