Art, artists, and perception: A model for premotor contributions to perceptual analysis and form recognition
David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
Philosophical Psychology 21 (2):149 – 171 (2008)
Artists, art critics, art historians, and cognitive psychologists have asserted that visual artists perceive the world differently than nonartists and that these perceptual abilities are the product of knowledge of techniques for working in an artistic medium. In support of these claims, Kozbelt (2001) found that artists outperform nonartists in visual analysis tasks and that these perceptual advantages are statistically correlated with drawing skill. We propose a model to explain these results that is derived from a diagnostic framework for object recognition and recent research in cognitive neuroscience on selective visual attention. This research demonstrates that endogenous shifts of visual attention enhance the encoding of expected features in the visual field and inhibit the perception of potential distracters. Moreover, it demonstrates complementary roles for spatial schemata and motor plans in visual attention. We argue that artists develop novel spatial schemata, which enable them to recognize and reproduce stimulus features sufficient for adequate artistic production in a medium, and that these schemata become encoded as motor plans as artists develop technical proficiency in a medium. We hypothesize that artists' perceptual advantages can therefore, be explained by the role spatial schemata and motor plans play in selective attention.
|Keywords||No keywords specified (fix it)|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
A. David Milner & Melvyn A. Goodale (1995). The Visual Brain in Action. Oxford University Press.
M. Jeannerod (1994). The Representing Brain: Neural Correlates of Motor Intention and Imagery. Behavioral and Brain Sciences 17 (2):187.
Edward Awh & John Jonides (2001). Overlapping Mechanisms of Attention and Spatial Working Memory. Trends in Cognitive Sciences 5 (3):119-126.
Philippe G. Schyns (1998). Diagnostic Recognition: Task Constraints, Object Information, and Their Interactions. Cognition 67 (1-2):147-179.
Citations of this work BETA
Dustin Stokes (2009). Aesthetics and Cognitive Science. Philosophy Compass 4 (5):715-733.
William P. Seeley (2010). Imagining Crawling Home: A Case Study in Cognitive Science and Aesthetics. Review of Philosophy and Psychology 1 (3):407-426.
Similar books and articles
Don Fawkes (2003). Critically Thinking Through Visual Arts. Inquiry 22 (4):13-25.
George C. Schuetze (2005). Convergences in Music and Art: A Bibliographic Study. Harmonie Park Press.
A. J. Greene, R. D. Easton & L. S. R. LaShell (2001). Visual-Auditory Events: Cross-Modal Perceptual Priming and Recognition Memory. Consciousness and Cognition 10 (3):425-435.
Stephen Grossberg (2006). The Art of Seeing and Painting. Technical Report.
Sherri Irvin (2005). Appropriation and Authorship in Contemporary Art. British Journal of Aesthetics 45 (2):123-137.
Assimina Kaniari, Marina Wallace & Martin Kemp (eds.) (2009). Acts of Seeing: Artists, Scientists and the History of the Visual: A Volume Dedicated to Martin Kemp. Artakt & Zidane Press.
Kathy Pitt (2010). Folding Souls or the Real Self? The Theories of Self of Roy Bhaskar and Nicholas Rose Through the Case of Five Visual Artists. Journal of Critical Realism 9 (2):172-198.
S. Grossberg (1999). The Link Between Brain Learning, Attention, and Consciousness. Consciousness and Cognition 8 (1):1-44.
Added to index2009-01-28
Total downloads53 ( #76,537 of 1,790,235 )
Recent downloads (6 months)6 ( #140,791 of 1,790,235 )
How can I increase my downloads?