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Art as cognition = how gist reframes...

Shottenkirk, Dena.

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Art as cognition = how gist reframes the aesthetic experience as conversation /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Art as cognition/ by Dena Shottenkirk.
Reminder of title:	how gist reframes the aesthetic experience as conversation /
Author:	Shottenkirk, Dena.
Published:	Cham :Springer Nature Switzerland : : 2025.,
Description:	xiii, 193 p. :ill., digital ;24 cm.
[NT 15003449]:	1 PERCEIVING: Gist Perception -- 2 PERCEIVING: Sensing -- 3 PERCEIVING: A New View -- 4 MAKING: "Seeing Anew" -- 5 CONVERSING: Art as Conversation -- Index.
Contained By:	Springer Nature eBook
Subject:	Aesthetics. -
Online resource:	https://doi.org/10.1007/978-3-032-00143-6
ISBN:	9783032001436

Art as cognition = how gist reframes the aesthetic experience as conversation /
Shottenkirk, Dena.

Art as cognitionhow gist reframes the aesthetic experience as conversation /[electronic resource] :by Dena Shottenkirk. - Cham :Springer Nature Switzerland :2025. - xiii, 193 p. :ill., digital ;24 cm. - Synthese library, studies in epistemology, logic, methodology, and philosophy of science,v. 5212542-8292 ;. - Synthese library, studies in epistemology, logic, methodology, and philosophy of science ;v. 521..

1 PERCEIVING: Gist Perception -- 2 PERCEIVING: Sensing -- 3 PERCEIVING: A New View -- 4 MAKING: "Seeing Anew" -- 5 CONVERSING: Art as Conversation -- Index.

This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artwork's meaning. Thus, art is seen as a kind of conversation.

ISBN: 9783032001436

Standard No.: 10.1007/978-3-032-00143-6doiSubjects--Topical Terms:

523036
Aesthetics.

LC Class. No.: BH39

Dewey Class. No.: 111.85

Art as cognition = how gist reframes the aesthetic experience as conversation /
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520 $a This book offers a different take on the aesthetic experience. Firstly, aesthetics has traditionally been analyzed only from the point of view of the viewer. This book does not do that, as aesthetics involves both a viewer and a maker; thus, a satisfactory account of the aesthetic experience would be one that was derived from both kinds of perceptual experiences. Secondly, this book focuses on the role of low-level features, such as texture, illumination, color, shape, movement, etc., in the aesthetic experience. Perception itself significantly involves these low-level features, and the sensory experience of aesthetics does so particularly. To explicate this, the book provides background information into recent findings in visual science that support this emphasis on low-level features, particularly within the framework of very early perception known as gist perception, which is experienced in the first approximately 300 ms. This gist experience is also viewed through the philosophical lens of sensing, which gives a framework with which to understand low-level percepts. Thirdly, the book concludes with a description of how the perceptual and cognitive processes of viewer and maker interact with curatorial/critical testimony in order to construct the artwork's meaning. Thus, art is seen as a kind of conversation.
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