107 found
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  1.  9
    Memory in Oral Traditions: The Cognitive Psychology of Epics, Ballads, and Counting-Out Rhymes.Rudolf Arnheim - 1999 - Journal of Aesthetics and Art Criticism 57 (4):479-480.
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  2. Art and Visual Perception: A Psychology of the Creative Eye.Rudolf Arnheim - 2004 - University of California Press.
    Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
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  3. Visual Thinking.Rudolf Arnheim - 1969 - London: Faber.
    "Groundbreaking when first published in 1969, this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a ...
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  4. The Philosophy of Childhood.Rudolf Arnheim - 1997 - Journal of Aesthetics and Art Criticism 55 (3):330-331.
  5. Film as Art.Rudolf Arnheim - 2006 - University of California Press.
    In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...)
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  6.  10
    New Essays on the Psychology of Art.Rudolf Arnheim - 1986 - Journal of Aesthetics and Art Criticism 45 (2):200-201.
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  7.  5
    Color Categories in Thought and Language.Rudolf Arnheim, C. L. Hardin & Luisa Maffi - 1998 - Journal of Aesthetic Education 32 (4):109.
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  8.  16
    Art and Visual Perception, a Psychology of the Creative Eye.Rudolf Arnheim - 1955 - Journal of Aesthetics and Art Criticism 13 (3):411-412.
    Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
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  9. The Power of the Center: A Study of Composition in the Visual Arts.Rudolf Arnheim - 2009 - University of California Press.
    Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences (...)
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  10.  69
    The Power of the Center: A Study of Composition in the Visual Arts.Rudolf Arnheim - 1983 - Journal of Aesthetics and Art Criticism 41 (4):448-450.
    Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences (...)
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  11.  43
    Art and Visual Perception: The New Version.Rudolf Arnheim - 1976 - Journal of Aesthetics and Art Criticism 34 (3):361-364.
  12.  12
    The Perception of the Visual World.Rudolf Arnheim - 1952 - Journal of Aesthetics and Art Criticism 11 (2):172-173.
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  13. From Pleasure to Contemplation.Rudolf Arnheim - 1993 - Journal of Aesthetics and Art Criticism 51 (2):195-197.
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  14. Picasso's Guernica. The Genesis of a Painting.Rudolf Arnheim - 1963 - Journal of Aesthetics and Art Criticism 22 (1):88-89.
  15. The Dynamics of Architectural Form.Rudolf Arnheim - 2009 - University of California Press.
    Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences (...)
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  16.  21
    Toward a Psychology of ArtThe Performance of MusicArt and Morality.Eddy Zemach, Rudolf Arnheim, David Barnett & R. W. Beardsmore - 1973 - Journal of Aesthetics and Art Criticism 31 (3):421.
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  17.  74
    Beauty as Suitability.Rudolf Arnheim - 1996 - Journal of Aesthetics and Art Criticism 54 (3):251-253.
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  18. Inside and Outside in Architecture: A Symposium.Rudolf Arnheim, Wolfgang M. Zucker & Joseph Watterson - 1966 - Journal of Aesthetics and Art Criticism 25 (1):3-15.
  19. Letters Pro and Con.Rudolf Arnheim, Sherman E. Lee & Calvin S. Brown - 1961 - Journal of Aesthetics and Art Criticism 19 (3):347-348.
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  20.  85
    Style as a Gestalt Problem.Rudolf Arnheim - 1981 - Journal of Aesthetics and Art Criticism 39 (3):281-289.
  21.  50
    Information Theory and Esthetic Perception.Rudolf Arnheim - 1968 - Journal of Aesthetics and Art Criticism 26 (4):552-554.
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  22.  26
    On the Nature of Photography.Rudolf Arnheim - 1974 - Critical Inquiry 1 (1):149-161.
    When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...)
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  23. The Two Authenticities of the Photographic Media.Rudolf Arnheim - 1993 - Journal of Aesthetics and Art Criticism 51 (4):537-540.
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  24. Entropy and Art: An Essay on Disorder and Order.Rudolf Arnheim - 2010 - University of California Press.
    This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.
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  25. Toward a Psychology of Art: Collected Essays.Rudolf Arnheim - 2010 - University of California Press.
    From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...)
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  26.  30
    The Gestalt Theory of Expression.Rudolf Arnheim - 1949 - Psychological Review 56 (3):156-171.
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  27. Accident and the Necessity of Art.Rudolf Arnheim - 1957 - Journal of Aesthetics and Art Criticism 16 (1):18-31.
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  28. Reminiscences.Rudolf Arnheim, Charles Gauss, Richard Kuhns, Avrum Stroll, Selma Jeanne Cohen, Gordon Epperson, Arnold Berleant, Hilde Hein & Charles Hartshorne - 1993 - Journal of Aesthetics and Art Criticism 51 (2):279-289.
  29.  33
    The Intelligence of Feeling.Rudolf Arnheim - 1976 - Journal of Aesthetics and Art Criticism 35 (2):237-237.
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  30.  33
    A Plea for Visual Thinking.Rudolf Arnheim - 1980 - Critical Inquiry 6 (3):489-497.
    The habit of separating the intuitive from the abstractive functions, as they were called in the Middle Ages, goes far back in our tradition. Descartes, in the sixth Meditation, defined man as "a thing that thinks," to which reasoning came naturally; whereas imagining, the activity of the senses, required a special effort and was in no way necessary to the human nature or essence. The passive ability to receive images of sensory things, said Descartes, would be useless if there did (...)
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  31.  89
    The Holes of Henry Moore: On the Function of Space in Sculpture.Rudolf Arnheim - 1948 - Journal of Aesthetics and Art Criticism 7 (1):29-38.
  32.  11
    Toward a Psychology of Art. Collected Essays.Rudolf Arnheim - 1967 - Journal of Aesthetics and Art Criticism 26 (1):138-141.
    From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation (...)
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  33.  78
    From Function to Expression.Rudolf Arnheim - 1964 - Journal of Aesthetics and Art Criticism 23 (1):29-41.
  34.  93
    Deus Ex Machina.Rudolf Arnheim - 1992 - British Journal of Aesthetics 32 (3):221-226.
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  35.  40
    A Review of Proportion. [REVIEW]Rudolf Arnheim - 1955 - Journal of Aesthetics and Art Criticism 14 (1):44-57.
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  36.  4
    Reconsiderations 2The Aesthetic Attitude.Rudolf Arnheim & Herbert S. Langfeld - 1980 - Journal of Aesthetics and Art Criticism 39 (2):201.
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  37.  90
    Art as Such.Rudolf Arnheim - 1999 - British Journal of Aesthetics 39 (3):252-254.
  38.  9
    The Dynamics of Architecturel Form.Rudolf Arnheim - 1978 - Journal of Aesthetics and Art Criticism 37 (2):237-239.
    Rudolf Arnheim has been known, since the publication of his groundbreaking _Art and Visual Perception_ in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In _The Power of the Center_, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. _The Dynamics of Architectural Form_ explores the unexpected perceptual consequences of (...)
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  39.  84
    The Expression and Composition of Color.Rudolf Arnheim - 1998 - Journal of Aesthetics and Art Criticism 56 (4):349-352.
  40.  28
    Entropy and Art: An Essay on Disorder and Order.Rudolf Arnheim - 1973 - Journal of Aesthetics and Art Criticism 32 (2):280-281.
    This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.
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  41.  80
    Ancient Chinese Aesthetics and its Modernity.Rudolf Arnheim - 1997 - British Journal of Aesthetics 37 (2):155-157.
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  42.  24
    Sculpture and Enlivened Space: Aesthetics and History.Rudolf Arnheim - 1982 - Journal of Aesthetics and Art Criticism 40 (4):435-436.
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  43. The Power of the Center.Henry P. Raleigh & Rudolf Arnheim - 1983 - Journal of Aesthetic Education 17 (1):111.
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  44.  31
    Consciousness: An Island of Images.Rudolf Arnheim - 1994 - Journal of Theoretical and Philosophical Psychology 14 (2):121-27.
    Discusses consciousness as an island of images, which informs us incompletely and indirectly about the mental and the physical worlds. A dualistic worldview separates the perceptual world from the transcendental physical world. Both universes of discourse are empowered by dynamic forces and are related to each other by reflection, the one reflecting the other. The physical world is understood and operated through the intermediary of perception. 2012 APA, all rights reserved).
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  45.  16
    Why Words Are Needed.Rudolf Arnheim - 1998 - Journal of Aesthetic Education 32 (2):21.
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  46.  6
    Gombrich on Art and Psychology.Rudolf Arnheim & Richard Woodfield - 1998 - Journal of Aesthetic Education 32 (2):113.
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  47.  65
    Picasso's Night Fishing at Antibes.Rudolf Arnheim - 1963 - Journal of Aesthetics and Art Criticism 22 (2):165-167.
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  48.  51
    The Completeness of Physical and Artistic Form.Rudolf Arnheim - 1994 - British Journal of Aesthetics 34 (2):109-113.
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  49.  53
    The Ontological Limbo of Spirits.Rudolf Arnheim - 1998 - British Journal of Aesthetics 38 (1):63-65.
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  50. Entropy and Art.Rudolf Arnheim - 1971 - Berkeley: University of California Press.
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