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"Minissale, Gregory"
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The psychology of contemporary art
\"While recent studies in neuroscience and psychology have shed light on our sensory and perceptual responses to art, they have yet to explain our responses to contemporary art which downplays perceptual responses and instead encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworks - including those of Marina Abramoviâc, Francis Alèys, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This book will appeal to psychologists, cognitive scientists, artists and art historians, as well as those interested in a deeper understanding of contemporary art\"-- Provided by publisher.
Book
The Psychology of Contemporary Art
While recent studies in neuroscience and psychology have shed light on our sensory and perceptual experiences of art, they have yet to explain how contemporary art downplays perceptual responses and, instead, encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworks - including those of Marina Abramović, Francis Alÿs, Martin Creed, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This book will appeal to psychologists, cognitive scientists, artists and art historians, as well as those interested in a deeper understanding of contemporary art.
eBook
A Multidisciplinary Study of Eye Tracking Technology for Visual Intelligence
The ability to analyse aspects of visual culture—works of art, maps or plans, graphs, tables and X-rays—quickly and efficiently is critical in decision-making in a broad range of disciplines. Eye tracking is a technology that can record how long someone dwells on a particular detail in an image, where the eye moves from one part of the image to the other, and the sequence the viewer uses to interpret visual information. These MP4 recordings can be played back and graphically enhanced with coloured dots and lines to point out this natural and fluent eye behaviour to learners. These recordings can form effective pedagogical tools for learning how to look at images through the eyes of experts by mimicking the patterns and rhythms of expert eye behaviour. This paper provides a meta-analysis of studies of this kind and also provides the results of a cross-disciplinary project which involved five different subject areas. The consensus arising from our meta-analysis reveals an emerging field with broad concerns in need of more integrated research. None of the studies cited in this article are interdisciplinary across the sciences and arts and, while some of them address higher education in medicine and computing, there are no interdisciplinary studies of how eye tracking is important for teaching in arts and science subjects at undergraduate and postgraduate levels. In addition, none of the studies address how learning practitioners find these eye recordings useful for their own understanding of learning processes. This establishes the unique contribution of this project.
Journal Article
Conceptual Art: A Blind Spot for Neuroaesthetics?
Conceptual art presents an important challenge for neuro-aesthetics. Such art helps to stimulate complex psychological events—beyond the perceptual responses usually studied by neuroscience. If science is to engage meaningfully with art, scientists need to address the conceptual content of our experience of many different kinds of art. As a test case, this essay suggests that neuroaesthetics should come to terms with works such as Marcel Duchamp's Bôite-envalise (1935-1941), which is representative of many artworks and art exhibitions organized into composite parts or groups of works. The essay shows that, typically, art stimulates a network of conceptual relations rather than merely perceptions of the visible aspects of single artworks.
Journal Article
Framing Consciousness in Art: Transcultural Perspectives
Framing Consciousness in Art shows how the frames-in-frames in these different contexts question notions of vision and representation, linear time, conventional spatial coordinates, binaries of 'internal' consciousness and 'external' world, subject and object, and the precise anatomy of mental states by which we are meant to carve up the territory of consciousness. The phenomenological experience of art is certainly as important as the folk psychology which scientists and philosophers use to taxonomise ordinary first-person modes of subjectivity. Yet art excels in configuring the visual field in order to articulate and sustain a complex network of higher-order thoughts structuring art and consciousness.
eBook
Framing Consciousness in Art
Framing Consciousness in Art shows how the frames-in-frames in these different contexts question notions of vision and representation, linear time, conventional spatial coordinates, binaries of 'internal' consciousness and 'external' world, subject and object, and the precise anatomy of mental states by which we are meant to carve up the territory of consciousness. The phenomenological experience of art is certainly as important as the folk psychology which scientists and philosophers use to taxonomise ordinary first-person modes of subjectivity. Yet art excels in configuring the visual field in order to articulate and sustain a complex network of higher-order thoughts structuring art and consciousness.
eBook
Part 4. Framing Consciousness in Art
Part 4 introduces three different approaches to art history and consciousness. It begins in an apparently conventional manner discussing those various 'canonical' works of art in European cultural history that deploy the frame-in-the-frame device. Here, we learn of the role these works of art play in producing forms of higher-order consciousness. Secondly, I move on to examples from non-EuroAmerican cultural traditions across the world where similar lessons are to be learnt. These two contexts inform an analysis of contemporary art and popular visual culture which concludes.
Journal Article