Cover image for Cognitive Iconology : When and How Psychology Explains Images.
Cognitive Iconology : When and How Psychology Explains Images.
Title:
Cognitive Iconology : When and How Psychology Explains Images.
Author:
Verstegen, Ian.
ISBN:
9789401210706
Personal Author:
Physical Description:
1 online resource (188 pages)
Series:
Consciousness, Literature and the Arts ; v.Vol. 37

Consciousness, Literature and the Arts
Contents:
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 Psychology -- The 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 Viewer -- Corrections 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 Parallel to 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 Side -- Viewing 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.
Abstract:
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 together. The term "cognitive iconology" is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed by the stratified approach to explanation that is outlined. In the book, cognitive iconology is a theory of cognitive tendencies that contribute to but are not determinative of an artistic meaning. At the center of the book are three case studies: images depicted within images, basic corrections to architectural renderings in images, and murals and paintings seen from the side. In all cases, there is a primitive perceptual pull that contribute to but do not override larger cultural meaning. The book then moves beyond the confines of the image to behavior around the image, and then ends with the concluding question of why some images are harder to understand than others. Cognitive Iconology promises to be important because it moves beyond the turf battles typically fought in image studies. It argues for a sustainable practice of interpretation that can live with other disciplines.Ian Verstegen is an art writer and historian living in Philadelphia. He is the author of Arnheim, Gestalt and Art (2005) and A Realist Theory of Art History (2012).
Local Note:
Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
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