From «Psychology of Art» by L. S. Vygotskyto the socio psychological comprehension of art

The following essay proposes to investigate the perceptual and emotional aspects related to the visualization of architectural images. The field of research is limited to a well-defined category: figurative representations as the photographic and digital images of contemporary architecture. In particular, two types will be analysed: the un-built architecture produced by Studio MIR and Bloomimages compared with the photographed built architecture. Using figurative images as a tool of reading, the aim of this work is to identify and classify three types of affective spaces capable of generating a specific kind of perception, producing a sensorial classification of atmosphere for architecture. The study of the Psychology of Art, as well as Aesthetics and Neuroaesthetics can be a valuable tool in understanding the phenomena of the present, considering the marked pictoriality of these images. The application of the analytic methodology, developed in these disciplines, can suggest a new way of "looking" at the project, paying attention to the representation of the atmospheres, which characterizes the experience of felt space. Keywords: Affective Space, Perception, Representation, Aesthetics, Atmospheres, Design Research, Generators.

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Questions for the Psychology of the Artful Mind

Vision ◽

10.3390/vision3040067 ◽

2019 ◽

Vol 3 (4) ◽

pp. 67

Author(s):

Carmelo Calì

Keyword(s):

Visual Arts ◽

Psychological Factors ◽

Aesthetic Experience ◽

General Purpose ◽

Cognitive Capacities ◽

Research And Teaching ◽

Psychological Theories ◽

Teaching Psychology ◽

Psychology Of Art

This paper reconstructs the “Arnheim’s puzzle” over the psychology of art. It is argued that the long-established psychological theories of art do not account properly for the observable variability of art, which provide the phenomena of interest whose psychological factors need to be discovered. The general purpose principles of such theories, the ensuing selective sample of art phenomena, and assumption of conventional properties of aesthetic experience make the predictions and the findings of the theories unrepresentative of art. From the discussion of examples drawn from contemporary visual arts and the presentation of the debate on the emergence of the cognitive capacities of art in paleoanthropology, a construct is presented on the specificity of the cognitive capacities of art and its anchoring to perception, which solves the puzzle and has implications for research and teaching psychology of art.

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