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Perceptual art is a form of art that can trace its roots to the art history concepts of perceptualism as well as to twentieth century inventions of conceptual art and performance art.
The concept of perceptualism has been discussed in historical and philosophical explorations of art and psychology, thus it forms an innate relationship between the artist and philosopher. Norman Bryson discussed perceptualism in terms of optical truth, as opposed to constructivist interpretations that take into account the social values of any given era's zeitgeist. Ernst Gombrich discussed perceptualism in terms of universal perceptual and psychological responses that govern the reception of images across time and differences in culture. Jack Chambers discussed perceptualism, which he first called "Perceptual Realism," in terms of visual art that is a "profound reflection of primary sensory experience, not simply a reproduction of it." [1]
In practice, perceptual art may be interpreted as the engagement of multi-sensory experiential stimuli combined with the multiplicity of interpretive meanings on the part of an observer. Sometimes, the role of observer is obscured as members of the public may unwittingly or unknowingly be participants in the creation of the artwork itself.
In the late 20th century, visual artists such as Robert Smithson, with his massive land-based creation entitled Spiral Jetty, began to break down barriers between art medium and subjective interpretation. Christo and Jeanne-Claude's wrapping of the Reichstag was another milestone in this succession. Jack Chambers used "sense combinations [to] complement one another to enrich perception" [2] in paintings such as 401 Towards London No. 1. Andy Kaufman utilized television as his primary medium in the 1980s, creating intentionally unusual and sometimes confrontational situations that left viewers unsure of their nature and meaning (Sometimes Kaufman's intentions were even undisclosed to fellow performers). A new generation of artists have continued stretching definitions and boundaries between performance, intent and meaning, such as Karen Finley, whose controversial performances were criticized by a U.S. senator, Joey Skaggs, who creates artificial news stories that are often reprinted by major media outlets, and Paul Rebhan who charges a fee for his friendship, smuggles his own paintings into museums, and hosts dating events where no one is allowed to speak. Perceptual sculptures are a performative demonstration of impossibility and often cause the viewer to question the reality of what they are seeing.
The philosophy of perception is concerned with the nature of perceptual experience and the status of perceptual data, in particular how they relate to beliefs about, or knowledge of, the world. Any explicit account of perception requires a commitment to one of a variety of ontological or metaphysical views. Philosophers distinguish internalist accounts, which assume that perceptions of objects, and knowledge or beliefs about them, are aspects of an individual's mind, and externalist accounts, which state that they constitute real aspects of the world external to the individual. The position of naïve realism—the 'everyday' impression of physical objects constituting what is perceived—is to some extent contradicted by the occurrence of perceptual illusions and hallucinations and the relativity of perceptual experience as well as certain insights in science. Realist conceptions include phenomenalism and direct and indirect realism. Anti-realist conceptions include idealism and skepticism. Recent philosophical work have expanded on the philosophical features of perception by going beyond the single paradigm of vision.
Perception is the organization, identification, and interpretation of sensory information in order to represent and understand the presented information or environment. All perception involves signals that go through the nervous system, which in turn result from physical or chemical stimulation of the sensory system. Vision involves light striking the retina of the eye; smell is mediated by odor molecules; and hearing involves pressure waves.
Gestalt psychology, gestaltism, or configurationism is a school of psychology that emerged in the early twentieth century in Austria and Germany as a theory of perception that was a rejection of basic principles of Wilhelm Wundt's and Edward Titchener's elementalist and structuralist psychology.
John Richard Chambers was an artist and filmmaker. Born in London, Ontario, Chambers' painting style shifted from surrealist-influenced to photo-realist-influenced. He used the term "Perceptual Realism" and later "perceptualism" to describe his style. He began working with film in the 1960s, completing six by 1970. Stan Brakhage proclaimed Chambers' The Hart of London as "one of the greatest films ever made."
In philosophy of perception and philosophy of mind, naïve realism is the idea that the senses provide us with direct awareness of objects as they really are. When referred to as direct realism, naïve realism is often contrasted with indirect realism.
In the philosophy of perception and philosophy of mind, direct or naïve realism, as opposed to indirect or representational realism, are differing models that describe the nature of conscious experiences; out of the metaphysical question of whether the world we see around us is the real world itself or merely an internal perceptual copy of that world generated by our conscious experience.
A sensorium (/sɛnˈsɔːrɪəm/) is the apparatus of an organism's perception considered as a whole, the "seat of sensation" where it experiences, perceives and interprets the environments within which it lives. The term originally entered English from the Late Latin in the mid-17th century, from the stem sens- ("sense"). In earlier use it referred, in a broader sense, to the brain as the mind's organ. In medical, psychological, and physiological discourse it has come to refer to the total character of the unique and changing sensory environments perceived by individuals. These include the sensation, perception, and interpretation of information about the world around us by using faculties of the mind such as senses, phenomenal and psychological perception, cognition, and intelligence.
James Jerome Gibson was an American psychologist and is considered to be one of the most important contributors to the field of visual perception. Gibson challenged the idea that the nervous system actively constructs conscious visual perception, and instead promoted ecological psychology, in which the mind directly perceives environmental stimuli without additional cognitive construction or processing. A Review of General Psychology survey, published in 2002, ranked him as the 88th most cited psychologist of the 20th century, tied with John Garcia, David Rumelhart, Louis Leon Thurstone, Margaret Floy Washburn, and Robert S. Woodworth.
Neuroesthetics is a relatively recent sub-discipline of empirical aesthetics. Empirical aesthetics takes a scientific approach to the study of aesthetic perceptions of art, music, or any object that can give rise to aesthetic judgments. Neuroesthetics is a term coined by Semir Zeki in 1999 and received its formal definition in 2002 as the scientific study of the neural bases for the contemplation and creation of a work of art. Neuroesthetics uses neuroscience to explain and understand the aesthetic experiences at the neurological level. The topic attracts scholars from many disciplines including neuroscientists, art historians, artists, art therapists and psychologists.
Nouveau réalisme refers to an artistic movement founded in 1960 by the art critic Pierre Restany and the painter Yves Klein during the first collective exposition in the Apollinaire gallery in Milan. Pierre Restany wrote the original manifesto for the group, titled the "Constitutive Declaration of New Realism," in April 1960, proclaiming, "Nouveau Réalisme—new ways of perceiving the real." This joint declaration was signed on 27 October 1960, in Yves Klein's workshop, by nine people: Yves Klein, Arman, Martial Raysse, Pierre Restany, Daniel Spoerri, Jean Tinguely and the Ultra-Lettrists, Francois Dufrêne, Raymond Hains, Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gérard Deschamps. The artist Christo showed with the group. It was dissolved in 1970.
Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park.
The Ponzo illusion is a geometrical-optical illusion that was first demonstrated by the Italian psychologist Mario Ponzo (1882–1960) in 1913. He suggested that the human mind judges an object's size based on its background. He showed this by drawing two identical lines across a pair of converging lines, similar to railway tracks. The upper line looks longer because we interpret the converging sides according to linear perspective as parallel lines receding into the distance. In this context, we interpret the upper line as though it were farther away, so we see it as longer – a farther object would have to be longer than a nearer one for both to produce retinal images of the same size.
In parapsychology, an apparitional experience is an anomalous experience characterized by the apparent perception of either a living being or an inanimate object without there being any material stimulus for such a perception.
Anomalous experiences, such as so-called benign hallucinations, may occur in a person in a state of good mental and physical health, even in the apparent absence of a transient trigger factor such as fatigue, intoxication or sensory deprivation.
London Regionalism is a Canadian art movement that developed in the late 1950s and 1960s in London, Ontario, Canada. Artists in the movement include Greg Curnoe, Tony Urquhart, Murray Favro, Ron Martin and Jack Chambers.
Marion Gray was an American artist, photographer, and teacher. A vital member of the Bay Area art scene since the 1970s, Gray's "work blurs the lines between documentation and art, and exposes shared approaches between artists working in dance, performance and visual arts." During her long career, Gray documented the performances and works of artists such as John Cage, Christo and Jeanne Claude, Merce Cunningham, Joan Jonas, Marina Abramovic, Meredith Monk, Paul Dresher, Guerrilla Girls, and many others. As curator Christina Linden explains: "her photographs, themselves powerful works of art, constitute an immensely valuable archive of the ephemeral artistic activity the Bay Area has historically fostered.”
Susanna Siegel is an American philosopher. She is the Edgar Pierce Professor of Philosophy at Harvard University and well known for her work in the philosophy of mind and epistemology, especially on perception.
Donald David Hoffman is an American cognitive psychologist and popular science author. He is a professor in the Department of Cognitive Sciences at the University of California, Irvine, with joint appointments in the Department of Philosophy, the Department of Logic and Philosophy of Science, and the School of Computer Science.
Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980–83 was a 1983 environmental artwork in which artists Christo and Jeanne-Claude surrounded an island archipelago in Miami with pink fabric.
The Umbrellas, Japan–USA, 1984–91 was a 1991 environmental artwork in which artists Christo and Jeanne-Claude erected yellow and blue umbrella structures in California and Japan, respectively. The 3,100-umbrella project cost US$26 million and attracted three million visitors. Christo closed the exhibition early after a woman was crushed by a windswept umbrella in California. Separately, a worker was killed during the deconstruction of the Japanese exhibit.