- Tapa blanda: 352 páginas
- Editor: University of California Press; Edición: 2 ed (16 de abril de 2004)
- Idioma: Inglés
- ISBN-10: 9780520242265
- ISBN-13: 978-0520242265
- ASIN: 0520242262
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº123.623 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Visual Thinking (Inglés) Tapa blanda – 16 abr 2004
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For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of "The Dynamics of Architectural Form", "Film as Art", "Toward a Psychology of Art", and "Art and Visual Perception", asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. This is an indispensable tool for students and for those interested in the arts.
Nota de la solapa
"Freud argued that a cogent thought process, to say nothing of conscious intellectual work, could not exist amidst the unruliness of visual experience. Over the last half century in a sequence of landmark books, Rudolf Arnheim has not only shown us how wrong that is, he has parsed the grammar of form with uncanny acuity and taught us how to read it. Few books continue to speak to the generations after them; Visual Thinking is one of those rare exceptions."Jonathan Fineberg, author of Art Since 1940
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Arnheim concedes that thought is possible without the use of visual imagery, that abstractions of thought are possible which do not necessarily involve visual imagery, but he insists that all such thinking has visual thinking at its roots. "[T]he cognitive operations called thinking are not the privilege of mental processes above and beyond perception but the essential ingredients of cognition itself." (p. 13). Put in even more direct terms, he says, "[P]erception and thinking cannot get along without each other." (p. 188).
Arnheim realizes that his claim is a radical one, and he turns to the empiricists Locke, Berkeley, and Hume for support. He understands that abstract thinking might be the least amenable manner of thought to his central thesis, but he does a good job of persuading the reader that even abstract thinking relies on visual thinking at its core. "[V]isual perception lays the groundwork for conceptual formation," (p. 294) he says, adding that "every art work is a statement about something. Every visual pattern ... can be considered a proposition which, more or less successfully, makes a declaration about the nature of human existence." (p. 296).
The final chapter of this text is the strongest one. He admits that some differences exist between visual thinking and purely conceptual thinking:
In the arts, then, the students meet the world of visual appearances
as symbolic of significant patterns of forces in a manner quite
different from the scientific use of sensory information. Sights that
are accidental with regard to the objective situation become valid
as carriers of meaningful patterns and can be called truthful or
false, appropriate or inappropriate by standards not applicable to
the statements of science. (p. 300).
However, he concludes on an emphatic note:
Art works best when it remains unacknowledged. It observes
that shapes and objects and events, by displaying their own
nature, can evoke those deeper and simpler powers in which
man recognizes himself. It is one of the rewards we earn for
thinking by what we see. (p. 315).
This is not an easy read, but it is more accessible than Art and Visual Perception. Even though Visual Thinking focuses more on the act of cognition, while Art and Visual Perception is more about the psychology of viewing and producing art, I think the reader is best served by reading both texts, perhaps reading Visual Thinking first because it is a somewhat easier book to comprehend and get through than Art and Visual Perception. However, I don't think the reader will gain the fullest benefit of Arnheim's thinking without having read both books.