This volume provides fascinating insights into the links between art and science, mind and brain. With contributions from Richard Gregory, Roger Penrose, David Hubel and others, The Artful Eye offers a brilliant introduction to the science behind the perception and enjoyment of art in essays ranging from topics in the physiology of the brain, development of sight in infants, and the significance of faces, to the physics of images and the mathematics of impossible objects. There are essays on perspective--especially of Vermeer's use of the camera oscura--alongside an examination of the art of the forger, portraits of artists and scientists, and a personal statement by the late sculptress, Dame Elisabeth Frink. With over 200 illustrations--including beautifully reproduced color plates by Hockney, Magritte, Vermeer, and others--The Artful Eye will appeal to psychologists, vision scientists, and all those interested in how science and art mix to create the aesthetic experience.
This volume provides fascinating insights into the links between art and science, mind and brain. With contributions from Richard Gregory, Roger Penrose, David Hubel and others, The Artful Eye offers a brilliant introduction to the science behind the perception and enjoyment of art in essays ranging from topics in the physiology of the brain, development of sight in infants, and the significance of faces, to the physics of images and the mathematics of impossible objects. There are essays on perspective--especially of Vermeer's use of the camera oscura--alongside an examination of the art of the forger, portraits of artists and scientists, and a personal statement by the late sculptress, Dame Elisabeth Frink. With over 200 illustrations--including beautifully reproduced color plates by Hockney, Magritte, Vermeer, and others--The Artful Eye will appeal to psychologists, vision scientists, and all those interested in how science and art mix to create the aesthetic experience.
Part I: Into the Brain
D. Rose: Introduction
1: R. Gregory: Black boxes of artful vision
2: D. Rose: A portrait of the brain
3: D. Hubel and M. Livingstone: Through the eyes of monkeys and
men
4: R. Latto: The brain of the beholder
5: D. Perrett et al: When is a face not a face?
6: G. Humphreys: When paying attention is too costly
Part II: Starting to see
R. Gregory: Introduction
7: J. Atkinson: Through the eyes of an infant
8: C. Trevarthen: Mother and baby - seeing eye to eye
Part III: Behind the eyes
J. Harris: Introduction
9: O. Braddick: The many faces of motion perception
10: S. Anstis and V.S. Ramachandran: At the edge of movement
11: V.S. Ramachandran: 2-D or not 2-D - that is the question
12: V. Walsh and K. Kulikowski: Seeing colour
Part IV: Physic
J. Harris: Introduction
13: J. Kulikowski and I. Murray: Chemical dreams
14: A. Sillito: Chemical soup
Part V: Physics
P. Heard: Introduction
15: M. Berry: Natural focussing
16: R. Penrose: Mathematics of the impossible
Part VI: Artistry
R. Gregory: Introduction
17: A. Hayes and J. Ross: Lines of sight
18: P. Steadman: In the studio of Vermeer
19: D. Phillips: How do forgers deceive art critics?
20: N. Wade: Portraits of artists and scientists
Professor R. L Gregory, who edited The Oxford Companion to the Mind (OUP, 1987), is at the Department of Psycology, Bristol University. Dr J. Harris and Dr P. Heard are both at that same establishment, while Dr D. Rose is at the Department of Psychology, Surrey University.
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