Art and Perception. Towards a Visual Science of Art, Part 1
Biographical note
Baingio Pinna, Ph.D. (1993) in Experimental Psychology, University of Padua, Italy, is Professor of Psychology and Perceptual Psychology at University of Sassari, Italy. He has published extensively on visual psychophysics and discovered several new visual illusions (Revolving Wheels, Watercolor, Discoloration, Flashing Color Contrast, etc.).
Readership
All those interested in vision science, visual neuroscience, psychology, ophthalmology, cognitive science, computer science, neural networks, phenomenology, philosophy, visual arts, psychology of art.
Table of contents
Introduction
Art as a scientific object: toward a visual science of art
B. Pinna
Some principles of spatial organization in art
C. W. Tyler
The origins of entasis: illusion, aesthetics or engineering?
P. Thompson, G. Papadopoulou and E. Vassiliou
Brain activity accompanying perception of implied motion in abstract paintings
C.-Y. Kim and R. Blake
Designing visually rich, nearly random textures
J. Ninio
Piranesi and the infinite prisons
S. Roncato
Gender’s effect on the hemispheric laterality of Rembrandt’s portraits
J. A. Schirillo
Artful visions
N. J. Wade
Visual interest in pictorial art during an aesthetic experience
P. Locher, E. A. Krupinski, C. Mello-Thoms and C. F. Nodine
Art pieces that ‘move’ in our minds— an explanation of illusory motion based on depth reversal
T. V. Papathomas
A universal model of esthetic perception based on the sensory coding of natural stimuli
C. Redies
Portraits and perception: configural information in creating and recognizing face images
B. J. Balas and P. Sinha
Fractal-like image statistics in visual art: similarity to natural scenes
C. Redies, J. Hasenstein and J. Denzler
Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities
D. J. Graham and D. J. Field
Examining art: dissociating pattern and perceptual influences on oculomotor behaviour
B. W. Tatler, N. J. Wade and K. Kaulard
The science and craft of autostereograms
J. Ninio
Index
Color plates I–XVI
Art as a scientific object: toward a visual science of art
B. Pinna
Some principles of spatial organization in art
C. W. Tyler
The origins of entasis: illusion, aesthetics or engineering?
P. Thompson, G. Papadopoulou and E. Vassiliou
Brain activity accompanying perception of implied motion in abstract paintings
C.-Y. Kim and R. Blake
Designing visually rich, nearly random textures
J. Ninio
Piranesi and the infinite prisons
S. Roncato
Gender’s effect on the hemispheric laterality of Rembrandt’s portraits
J. A. Schirillo
Artful visions
N. J. Wade
Visual interest in pictorial art during an aesthetic experience
P. Locher, E. A. Krupinski, C. Mello-Thoms and C. F. Nodine
Art pieces that ‘move’ in our minds— an explanation of illusory motion based on depth reversal
T. V. Papathomas
A universal model of esthetic perception based on the sensory coding of natural stimuli
C. Redies
Portraits and perception: configural information in creating and recognizing face images
B. J. Balas and P. Sinha
Fractal-like image statistics in visual art: similarity to natural scenes
C. Redies, J. Hasenstein and J. Denzler
Statistical regularities of art images and natural scenes: spectra, sparseness and nonlinearities
D. J. Graham and D. J. Field
Examining art: dissociating pattern and perceptual influences on oculomotor behaviour
B. W. Tatler, N. J. Wade and K. Kaulard
The science and craft of autostereograms
J. Ninio
Index
Color plates I–XVI
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Color, Line and Space explores the role of color in spatial vision and represents a truly interdisciplinary approach to visual neuroscience. Several fascinating new phenomena are presented and focus on how color appearance depends on spatio-chromatic interactions.
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