Cognitive iconology when and how psychology explains images
Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit togeth...
| Autor principal: | |
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| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Editions Rodopi
2014.
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| Colección: | EBSCO Academic eBook Collection Complete.
Consciousness, literature & the arts ; 37. |
| Acceso en línea: | Conectar con la versión electrónica |
| Ver en Universidad de Navarra: | https://innopac.unav.es/record=b34703585*spi |
Tabla de Contenidos:
- Cover; Title Page; Copyright Page; Contents; Preface; Introduction:; Toward a Cognitive Iconology; The New Two Cultures; Cognition + Iconology; ""Psychology""; What's to Fear?; Structure of the Book; Chapter 1; Cognitive Iconology: Understanding versus Explanation; Arnheim's Woes; An Example: Cross-Cultural Perception; What does it mean to Explain Something?; Ontological Priority; Epistemic Priority; Against Conflation; Downward Conflation; Separating Sociology from Psychology; The Proper Place of Cultural Analysis; What is Left Over once Society is Extracted?; Upward Conflation.
- Separating Biology from PsychologyThe Proper Place of Biological Analysis; What is Left Over once Biology is Extracted?; Stratified Explanation and Cognitive Glue; Chapter 2; Fiction and Transcription: Two Ecologies of Perception; Linear Perspective; Drawing and the Naive Theory of Mind; Two Ecologies of Perception; The Ecology of Standard Graphic Communication; The Ecology of Transcriptive Perspective; Chapter 3; A Classification of Perspective ""Corrections"" in Images; The Judgment of the Eye; From Prospectiva Naturalis to Good Form; Human Figures; Representing Architecture.
- Relating Space to ViewerCorrections and Distortions; Chapter 4; Presence over Perspective: Portraits-in-Pictures; Curious Images; Perspective and Meta-Painting; Occasions for Portraiture; The Image without Presence; The Image with Presence; Problems of Reality in Virtual Portraits Parallelto the Picture Plane; Presence, Absence and Perspective; Chapter 5; Oblique Images from the Side and Below; The Problem; Discovering Oblique Viewing; The Phenomenon Clarified; Distinguished from Anamorphism; Distinguished from Robust Perspectives; Three Levels of Site-Specificity.
- Viewing Pictures from the SideViewing Pictures from Below; Oblique Perception and Cultural Explanations; Chapter 6; Acting Irrational around Art; Are Objects Alive?; A Real Complementary Solution: Cognitive Glue; Similarity and Contagion; Similarity and Contagion with Images; Witnessing Miraculous Behavior; Iconoclasm; Society: The Focalizer; Conclusion; Cognitive Proclivities for the Study of Art; Tendencies are Not Probabilities; Gestalt Theory as Mediator; Bibliography; Index.
