Art and Perception. Towards a Visual Science of Art, Part 2

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.).

All those interested in vision science, visual neuroscience, psychology, ophthalmology, cognitive science, computer science, neural networks, phenomenology, philosophy, visual arts, psychology of art.

Introduction
The illusion of Art
How do painters represent motion in garments? Graphic invariants across centuries
Implicit and explicit features of paintings
Reflections in art
The incomplete angler: effects created by visual omission
Understanding 2D projections on mirrors and on windows
The aesthetic experience of ‘contour binding’
The representation of time course events in visual arts and the development of the concept of time in children: a preliminary study
Self and world: large scale installations at science museums
The visual system as a constraint on the survival and success of specific
artworks
Spatial vision anomalies in Renaissance art: Raphael, Giorgione, Dürer
Towards a framework for the study of the neural correlates of aesthetic preference
Factors contributing to depth perception: behavioral studies on the reverse perspective illusion
Emmert’s Law and the moon illusion
Aesthetic issues in spatial composition: effects of position and direction on framing single objects
Angle illusion on a picture’s surface
The art of seeing and painting
Attentional vs computational complexity measures in observing paintings
Corner salience varies linearly with corner angle during flicker-augmented contrast: a general principle of corner perception based on Vasarely’s artworks
From perception to art: how vision creates meanings