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Art and Cognition

Art and Cognition Svend 0stergaard This paper deals with Ramachandran's & Hirstein's laws for aesthetic experience such as grouping, contrast detection, and the principle o f ge- neric viewpoint. These are general morphological principles of how the Visual system integrates perceptual input into a coherent representation. This paper analyzes how the materiality of the painting - i.e. the canvas and the brush-strokes — interacts with these morphological principles and thereby modifies the conceptual content. W e consider cases. Firsdy, how manipuladons of the 2 D presentation makes the 3D representation ambiguous. This is exemplified by Picasso. Secondly, we examine how Van Gogh uses the dynamics evoked by the stroke pattems to destabilize the 3 D representation. CORRESPONDENCE: Svend Osteigaaid. Center for Semiotics, University of Aartius, Aarhus, Denmaik EMAIL semsvend@hum.au.dl( Introduction The objects for the considerations in this paper are paintings from the last two centuries. Many paintings from this period represent their content in a way that deviates from normal perception; it is therefore interesting to compare them to the normal perception of objects. Perception takes place automatically and unconsciously and is largely determined by stereotypes and expectations about what we are seeing. The Standard wisdom in neuroscience teils us that perception http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Cognitive Semiotics de Gruyter

Art and Cognition

Østergaard, Svend
Cognitive Semiotics , Volume 3 (s1): 20 – Sep 1, 2008
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Publisher
de Gruyter
Copyright
© 2013 by Walter de Gruyter GmbH & Co.
ISSN
2235-2066
eISSN
2235-2066
DOI
10.1515/cogsem.2008.3.fall2008.114
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Abstract

Svend 0stergaard This paper deals with Ramachandran's & Hirstein's laws for aesthetic experience such as grouping, contrast detection, and the principle o f ge- neric viewpoint. These are general morphological principles of how the Visual system integrates perceptual input into a coherent representation. This paper analyzes how the materiality of the painting - i.e. the canvas and the brush-strokes — interacts with these morphological principles and thereby modifies the conceptual content. W e consider cases. Firsdy, how manipuladons of the 2 D presentation makes the 3D representation ambiguous. This is exemplified by Picasso. Secondly, we examine how Van Gogh uses the dynamics evoked by the stroke pattems to destabilize the 3 D representation. CORRESPONDENCE: Svend Osteigaaid. Center for Semiotics, University of Aartius, Aarhus, Denmaik EMAIL semsvend@hum.au.dl( Introduction The objects for the considerations in this paper are paintings from the last two centuries. Many paintings from this period represent their content in a way that deviates from normal perception; it is therefore interesting to compare them to the normal perception of objects. Perception takes place automatically and unconsciously and is largely determined by stereotypes and expectations about what we are seeing. The Standard wisdom in neuroscience teils us that perception

Journal

Cognitive Semiotics – de Gruyter

Published: Sep 1, 2008

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