Painting methods and visual processing: initial considerations
Palavras-chave:
Arte, Pintura, Neurobiologia da visão
Resumo
Recentes estudos reunindo os campos das artes e das neurociências têm focado nos objetos artísticos em suas formas e aparências finalizadas, principalmente pinturas, e a reação do público à eles. Neste artigo sugerimos os métodos artísticos, e em especial os métodos de pintura, como outra forma de abordagem às artes nos estudos de intersecção entre essas duas áreas do conhecimento.
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Referências
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BARTELS, A., ZEKI, S. The temporal order of binding visual attributes. Vision Research, v. 46, n. 14, p.2280-2286, jul. 2006. Disponível em: https://doi.org/10.1016/j.visres.2005.11.017. Acesso em :20 jul. 2019.
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https://doi.org/10.1007/s11097-014-9351-5. Acesso em: 02 set.2019.
CALLEN, A. The Art of Impressionist Painting: technique and the making of modernity. New Heaven: Yale University Press, 2000.
CHANGEUX, J.P.; GOLDHAMMER, A. Creativity and Neuroscience. Grand Street, n. 58, p. 83, 1996. Disponível em: https://jstor.org/stable/25008087. Acesso em: 20 abr. 2018.
CONWAY, B. R., ESKEW, R.T., MARTIN, P. R., STOCKMAN, A. A tour of color vision research. Vision Research, v. 151, p. 2-6, out. 2018. Disponível em: https://doi.org/10.1016/j.visres.2018.06.009. Acesso em: 12 maio 2019.
CONWAY, B. R. Color consilience: color through the lens of art practice, history, philosophy, and neuroscience. Annals of the New York Academy of Sciences, v. 1251, mar. 2012. Disponível em: https://doi.org/10.1111/j.1749-6632.2012.06470.x. Acesso em: 07 jun. 2018.
CONWAY, B.R.; REHDING, A. Neuroaesthetics and the trouble with Beauty, PLOS Biology, v. 11, n. 3, mar. 2013. Disponível em: https://doi.org/10.1016/j.conb.2007.07.010. Acesso em: 02 jan. 2019.
DUNSTAN, B. Painting methods of the impressionists. Nova York: Watson Guptill Publications, 1976.
FIELD, J. V. The Invention of Infinity: mathematics and art in the renaissance. Oxford; Nova York: Oxford University Press, 1997.
FRASCINA, F.; BLAKE, N.; FER, B.; GARB, T.; HARRISON,C. Modernity and Modernism: french painting in the nineteenth century. New Heaven: Yale University Press, 1993.
FRÓES, M. An artsci science. Technoetic Arts, v. 13, n. 1-2, jun 2015. Disponível em: http://doi.org/10.1386/tear.13.1-2.203_1. Acesso em: 18 abr. 2019.
GOLDSTEIN, E.B. Blackwell handbook of sensation and perception. Malden: Blackwell Publishing, 2001.
GREGORY, R. L.; GOMBRICH, E. H. (eds.) Illusion in nature and art. Londres: Gerald Duckworth & Company Limited, 1973.
HOFFMANN, V. Giotto and Renaissance Perspective. Nexus Netw J 12, 5–32 (2010). https://doi.org/10.1007/s00004-010-0015-7
KANDEL, E. (ed.) Principles of neural science. 5 ed. Nova York: Mc Graw Hill, 2012.
MATURANA, H. (2002) Autopoiesis, structural coupling and cognition: A history of these and other notions in the biology of cognition. Cybernetics & Human Knowing 9(3–4): 5–34.
MELCHER, D.; CAVANAGH, P. Pictorial cues in art and visual perception. In: BACCI, F.; MELCHER, D. Art and the Senses. Oxford: Oxford University Press, 2010.
MCMAHON, J. A. Perceptual constraints and perceptual schemata: the possibility of perceptual styles. The Journal of Aesthetics and Art Criticism, v.61, n. 3, 2003. Disponível em: https://www.jstor.org/stable/1559177. Acesso em: 29 set. 2019.
OSBORNE, R. A painter’s thoughts on color and form. Color Res. Appl., v. 12, n. 6, dez. 1987. Disponível em: https:// doi.org/10.1002/col.5080120608. Acesso em: 05 set. 2019.
PINNA, B. The organization of shape and color in vision and art. Frontiers in Neuroscience, v. 5, n. 104, out. 2011. Disponível em: https://dx.doi.org/103389%2Ffnhum.2011.00104. Acesso em: 16 abr. 2019.
SCHAPIRO, M. Modern art: 19th and 20th centuries. Nova York: George Braziller, 1979.
VIVIANI, P.; AYMOZ, C. Color, form, and movement are not perceived simultaneously. Vision Research, v. 41, n.22, out. 2001. Disponível em: https://doi.org/10.1016/S0042-6989(01)00160-2. Acesso em: 04 jun. 2019.
WILLATS, J. Art and representation. Princeton: Princeton University Press, 1997.
BARTELS, A., ZEKI, S. The temporal order of binding visual attributes. Vision Research, v. 46, n. 14, p.2280-2286, jul. 2006. Disponível em: https://doi.org/10.1016/j.visres.2005.11.017. Acesso em :20 jul. 2019.
BUNDGAARD, P. F. Feeling, meaning, and intentionality – a critique of the neuroaesthetics of beauty. Phenom Cogn Sci, v.14, p. 781-801, dez. 2015.
https://doi.org/10.1007/s11097-014-9351-5. Acesso em: 02 set.2019.
CALLEN, A. The Art of Impressionist Painting: technique and the making of modernity. New Heaven: Yale University Press, 2000.
CHANGEUX, J.P.; GOLDHAMMER, A. Creativity and Neuroscience. Grand Street, n. 58, p. 83, 1996. Disponível em: https://jstor.org/stable/25008087. Acesso em: 20 abr. 2018.
CONWAY, B. R., ESKEW, R.T., MARTIN, P. R., STOCKMAN, A. A tour of color vision research. Vision Research, v. 151, p. 2-6, out. 2018. Disponível em: https://doi.org/10.1016/j.visres.2018.06.009. Acesso em: 12 maio 2019.
CONWAY, B. R. Color consilience: color through the lens of art practice, history, philosophy, and neuroscience. Annals of the New York Academy of Sciences, v. 1251, mar. 2012. Disponível em: https://doi.org/10.1111/j.1749-6632.2012.06470.x. Acesso em: 07 jun. 2018.
CONWAY, B.R.; REHDING, A. Neuroaesthetics and the trouble with Beauty, PLOS Biology, v. 11, n. 3, mar. 2013. Disponível em: https://doi.org/10.1016/j.conb.2007.07.010. Acesso em: 02 jan. 2019.
DUNSTAN, B. Painting methods of the impressionists. Nova York: Watson Guptill Publications, 1976.
FIELD, J. V. The Invention of Infinity: mathematics and art in the renaissance. Oxford; Nova York: Oxford University Press, 1997.
FRASCINA, F.; BLAKE, N.; FER, B.; GARB, T.; HARRISON,C. Modernity and Modernism: french painting in the nineteenth century. New Heaven: Yale University Press, 1993.
FRÓES, M. An artsci science. Technoetic Arts, v. 13, n. 1-2, jun 2015. Disponível em: http://doi.org/10.1386/tear.13.1-2.203_1. Acesso em: 18 abr. 2019.
GOLDSTEIN, E.B. Blackwell handbook of sensation and perception. Malden: Blackwell Publishing, 2001.
GREGORY, R. L.; GOMBRICH, E. H. (eds.) Illusion in nature and art. Londres: Gerald Duckworth & Company Limited, 1973.
HOFFMANN, V. Giotto and Renaissance Perspective. Nexus Netw J 12, 5–32 (2010). https://doi.org/10.1007/s00004-010-0015-7
KANDEL, E. (ed.) Principles of neural science. 5 ed. Nova York: Mc Graw Hill, 2012.
MATURANA, H. (2002) Autopoiesis, structural coupling and cognition: A history of these and other notions in the biology of cognition. Cybernetics & Human Knowing 9(3–4): 5–34.
MELCHER, D.; CAVANAGH, P. Pictorial cues in art and visual perception. In: BACCI, F.; MELCHER, D. Art and the Senses. Oxford: Oxford University Press, 2010.
MCMAHON, J. A. Perceptual constraints and perceptual schemata: the possibility of perceptual styles. The Journal of Aesthetics and Art Criticism, v.61, n. 3, 2003. Disponível em: https://www.jstor.org/stable/1559177. Acesso em: 29 set. 2019.
OSBORNE, R. A painter’s thoughts on color and form. Color Res. Appl., v. 12, n. 6, dez. 1987. Disponível em: https:// doi.org/10.1002/col.5080120608. Acesso em: 05 set. 2019.
PINNA, B. The organization of shape and color in vision and art. Frontiers in Neuroscience, v. 5, n. 104, out. 2011. Disponível em: https://dx.doi.org/103389%2Ffnhum.2011.00104. Acesso em: 16 abr. 2019.
SCHAPIRO, M. Modern art: 19th and 20th centuries. Nova York: George Braziller, 1979.
VIVIANI, P.; AYMOZ, C. Color, form, and movement are not perceived simultaneously. Vision Research, v. 41, n.22, out. 2001. Disponível em: https://doi.org/10.1016/S0042-6989(01)00160-2. Acesso em: 04 jun. 2019.
WILLATS, J. Art and representation. Princeton: Princeton University Press, 1997.
Publicado
2022-02-15
Como Citar
Nogueira, F., & Monteiro Fróes, M. (2022). Painting methods and visual processing: initial considerations. Revista Scientiarum Historia, 1, e341. https://doi.org/10.51919/revista_sh.v1i0.341
Seção
Epistemologia, Lógicas e Teorias da Mente
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