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The Analysis and Cognition of Melodic Complexity
In this work, Eugene Narmour extends the unique theories of musical perception presented in The Analysis and Cognition of Basic Melodic Structures. The two books together constitute the first comprehensive theory of melody founded on psychological research. Narmour's earlier study dealt with cognitive relations between melodic tones at their most basic level. After summarizing the formalized methodology of the theory described in that work, Narmour develops an elaborate and original symbology to show how sixteen archetypes can combine to form some 200 complex structures that, in turn, can chain together in a theoretically infinite number of ways. He then explains and speculates on the cognit...
To the Rescue of Art
The provocative title of this new collection of essays was chosen by Rudolf Arnheim for good reason. He has spent a lifetime analyzing the basic psychological principles that make works of visual art meaningful, stirring, indispensable, and lasting. But recent fashionable attitudes and theories about art, he argues, are undermining the foundation of artistic achievement itself. He says that we must face the threat 'that the work crew charged with erecting the edifice of our principles is infiltrated by termites.'
Object Perception
This collection of research on object perception focuses on holistic and featural properties of objects, the mechanisms that produce such properties, how people choose one type of property over another, and how such choices are improved during the course of child development. The contributions consider alternative perceptual characterizations, the way in which such properties are represented in the mind, how particular properties are more useful in some kinds of tasks that humans perform, and how the developing child learns to cope with different properties in choosing among alternatives to optimize task performance. These papers were written by specialists for specialists in experimental, cognitive, and developmental psychology.
Perceptual Organization
Originally published in 1981, perceptual organization had been synonymous with Gestalt psychology, and Gestalt psychology had fallen into disrepute. In the heyday of Behaviorism, the few cognitive psychologists of the time pursued Gestalt phenomena. But in 1981, Cognitive Psychology was married to Information Processing. (Some would say that it was a marriage of convenience.) After the wedding, Cognitive Psychology had come to look like a theoretically wrinkled Behaviorism; very few of the mainstream topics of Cognitive Psychology made explicit contact with Gestalt phenomena. In the background, Cognition's first love – Gestalt – was pining to regain favor. The cognitive psychologists' de...
Semiotik / Semiotics. 1. Teilband
This series of HANDBOOKS OF LINGUISTICS AND COMMUNICATION SCIENCE is designed to illuminate a field which not only includes general linguistics and the study of linguistics as applied to specific languages, but also covers those more recent areas which have developed from the increasing body of research into the manifold forms of communicative action and interaction. For "classic" linguistics there appears to be a need for a review of the state of the art which will provide a reference base for the rapid advances in research undertaken from a variety of theoretical standpoints, while in the more recent branches of communication science the handbooks will give researchers both an overview and...
The World of the Imagination
In this book, Eva Brann sets out no less a task than to assess the meaning of imagination in its multifarious expressions throughout western history. The result is one of those rare achievements that will make The World of the Imagination a standard reference.
The Oxford Handbook of Perceptual Organization
Perceptual organization comprises a wide range of processes such as perceptual grouping, figure-ground organization, filling-in, completion, and perceptual switching. The Oxford Handbook of Perceptual Organization provides a broad and extensive review of the current literature, written in an accessible form for scholars and students
Art Theory as Visual Epistemology
How can we “know”? What does “knowledge” mean? These were the fundamental questions of epistemology in the 17th century. In response to continental rationalism, the British empiricist John Locke proposed that the only knowledge humans can have is acquired a posterior. In a discussion of the human mind, he argued, the source of knowledge is sensual experience – mostly vision. Since vision and picture-making are the realm of art, art theory picked up on questions such as: are pictures able to represent knowledge about the world? How does the production of images itself generate knowledge? How does pictorial logic differ from linguistic logic? How can artists contribute to a collectiv...
Cognitive Approaches to Human Perception
Examining the current state of the research in perception stressing contributions in visual information processing, this volume provides an original and timely account of recent results obtained in this and other related areas of cognitive psychology. The scope of the book is intended to be broad, featuring state-of-the-art contributions from a number of outstanding researchers from different parts of the world -- the United States, Europe, and Australia. The intention is to update areas of considerable theoretical implications and active experimental investigation in this broad field called the "psychology of perception." This volume's main purpose is to highlight, from a cognitive position...
Pictorialism in Cinema
This book explores the unique phenomenon of pictorialism and its connection with other arts in film and media studies. Pictorialism is motivated by the commitment to develop and increase the function and effectiveness of images, sounds, and performances that aesthetically formulate, translate, and change the effects of contemporary cinema to higher dimensions and qualities of art. The book’s main focus is when pictorialism as such is the major aesthetic convention used in filmmaking practice, and when pictorialism itself forms the key element of the narrative, considering a number of theoretical and practical issues of filmic narration, including: What are the main challenges of pictorial ...
