Related Books About the Book 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. An indispensable tool for students and for those interested in the arts. Reviews "Groundbreaking when first published in , this book is now of even greater relevance to make the reader aware of the need to educate the visual sense, a matter so harmfully neglected in the present system. 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.
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Additional Information In lieu of an abstract, here is a brief excerpt of the content: Books particular, its influence on music composition. As regards the visual fine arts, he mentions the interesting experiments of Bela Julesh, the first to make computer graphics and who proved that it is not mathematical order that is important in a work of art but patterns perceived by a viewer.
The author therefore, concludes that the hypothetical aesthetic measure proposed by George D. Birkhoff is of doubtful worth.
I find it regrettable that he has ignored the beginnings of the formulation of a new hypothesis of aesthetics based upon the perception of visual phenomena-a beginning stimulated by some cybernetic considerations put forward by Abraham Moles. Visual Thinking. Rudolf Arnheim. Faber and Faber, London, He has displayed an unusual determination to find good ways of describing in words what he identifies as the range ofpossible visual experiences.
In his specific studies ofart, he has attempted to find words for the special perceptual processes that a work of art promotes in the spectator. The act of verbalising what is visual seems to be the groundwork on which his more theoretical studies which also draw freely from Gestalt Psychology have been raised. The book under review is packed with opinions and examples, many of them old and many of them new. I think, however, that readers who are new to Arnheim will find Visual Thinking less easy to understand than the Art and Visual Perception of He is more inclined to take short cuts in the exposition.
He wished to convert the adherents of what he regarded as a powerful and harmful tradition to a saner view. At the same time, he wished to make a fundamental enquiry into the nature of visual thought. I think, however, that Arnheim oversimplifies in order to persuade and so fails to realize either ofhis intentions adequately. He regards the tradition that he attacks as ancient. If you would like to authenticate using a different subscribed institution or have your own login and password to Project MUSE.
Early years[ edit ] Rudolf Arnheim was born into a Jewish family in on Alexanderplatz , in Berlin. However, Rudolf wanted to continue his education, so his father agreed that he could spend half his week at the university and the other half at the factory. Migration around Europe and to the United States[ edit ] Arnheim lived and wrote about film and radio in Rome for the next six years. This child, a girl, died around the age of 12 while Arnheim and his first wife lived in Italy during the s.