<\/p>\n
This is a “specialized” course if taken for the Psychology Major.<\/p>\n
Instructor
\nWilliam M. Mace
\nOffice: Life Sciences 209A
\nOffice Hours: Tuesday – Thursday 11:30 am-1:00 pm<\/p>\n
and especially by Appointment<\/p>\n
Contact — \u00a0E-Mail: william.mace@trincoll.edu<\/a> Books — E. H. Gombrich,\u00a0 Art and Illusion<\/em> Reading for this course is extremely important. The core reading E. H. Gombrich’s book,\u00a0Art and Illusion<\/i>, is interesting and provocative. It should make you think about a great deal that you have not thought about before. For the reading to work its magic, you have to cooperate by giving it substantial hunks of time. When you get a “reading” assignment, the goal is for you to have learned the material in the reading, not just to have passed your eyes over each page once or twice. To emphasize this,for the first several assignments, I did not say simply “read” but “read, learn and digest.” You ought to approach any reading assignment this way, but sometimes people do not, so I’ll say it more explicitly and more often.<\/p>\n There are 29 pages in the introductory chapter of Gombrich. This Introduction, called “Psychology and the Riddle of Style,” is divided into six sections with Roman Numeral headings. There are 61 paragraphs. Some of the paragraphs are short transitions to the others. Some are long and dense with information. For carefully presented and argued material like this, it is not unreasonable to guess that an average of 5 minutes per paragraph is minimal to get what you need to get. If we round the number of paragraphs to 60, then we’re talking 300 minutes already for the chapter. How long is that? How many minutes in an hour? Good. So how many hours? That’s not counting the pictures. The topics at hand concern what can be seen in pictures, so the pictures in the book are there to make a point. You need to look carefully at the pictures, see what you see, and understand what the point is meant to be. Do they succeed in making the point for you? There are only 4 pictures in this Introduction. What are they? Why are they there? Integrating those into your understanding takes some more time. Putting it all together, I’d say that 6 hours is a reasonable beginning for the amount of time to allocate to this introductory chapter.<\/p>\n Sometimes students approach a course as a source of answers, thinking that the goal of a course is to teach students what experts know about a topic. The surprise for students is that what they often find is that much of a course is about what experts ASK about a topic. Much of any discipline involves learning how people package their questions in order to make progress. The questions you have when you are not an expert don’t necessarily lead to answers that look like they address the question you had.<\/p>\n Consider the Introduction. The title is “Psychology and the Riddle of Style.” A riddle is a kind of question, so we’re already orienting to questions. Because that’s the main topic, you ought to start reading, thinking to yourself “What is the riddle of style?” or even, “Can there be more than one riddle of style?” And, “what does Gombrich think the Riddle of Style is?” So you don’t just plunge in, but you plunge in knowing some of what you have to look for. In past classes, I have asked students, AFTER several class sessions, and AFTER doing the reading, what the Riddle of Style was to Gombrich. The reply of some was a list of styles. But I didn’t ask what some styles were or even what was meant by style. I asked, with Gombrich, what the “Riddle of Style” was. You cannot appreciate the riddle of style without good examples in mind, but those examples are not themselves what the question asks.<\/p>\n The first sentence says “The illustration in front of the reader should explain much more quickly than I could in words what is here meant by the “riddle of style.” See — Gombrich directly addressed the main point right from the beginning — but he also asked you to look at the first Figure. So you have to look at the Figure. Do you get the joke? Is it funny to you? If so, why? Gombrich’s second sentence says how important the cartoon is as an illustration of what he’ll get to, then he asks a question. Gombrich asks SIX questions in the first paragraph, and SEVEN in section I. You’ve got to stop and think about each question in order. (1)”Why is it that different ages and different nations have represented the visible world in such different ways?” Does that sink in as a real question? Can you think of some possible answers? At least to illustrate what the question is about?<\/p>\n What I’m try to do here is to alert you to the level of detail to be grasped and the tempo required to grasp it. If you do that, then you’ll participate well in class and write your papers at the correct level.<\/p>\n <\/p>\n Course Work<\/strong><\/p>\n Grades will be based on written work (90%)\u00a0 and class participation (10%).<\/p>\n Class participation will be based on attendance, your willingness to talk in class, and performance on occasional exercises that I’ll call “homework.”<\/p>\n Papers<\/strong><\/p>\n Your main written work for the semester will be a series of 4 modest papers and a more comprehensive final paper.<\/p>\n The assignments and dates due are these:<\/p>\n
\nPersonal Website<\/a><\/p>\nRequired Reading<\/h4>\n
\nLawrence Weschler, Seeing is Forgetting the Name of the Thing One Sees<\/em><\/p>\nQUESTIONS AS IMPORTANT AS ANSWERS<\/h4>\n
![Alain cartoon<\/a>\nOverview of issues, Gombrich style. Peruse some more Egyptian Art. Just Google “Egyptian Art.”<\/td>\n<\/tr>\n\n\u00a0Class 3\nSeptember 11<\/td>\nRead, Learn and Digest: Gombrich — Chapter 1<\/p>\nWivenhoe Park series<\/a><\/p>\nIn class:\u00a0Amount of light in different conditions<\/a>\nLight variation due to reflectance<\/a><\/p>\nOne of Alan Gilchrist’s Gelb demos<\/a><\/td>\n\u00a0Assignment 1 due a week from today, Sept. 18<\/a><\/td>\n<\/tr>\n\n\u00a0Class 4\nSeptember 13<\/td>\nRead, Learn and Digest: Gombrich — Chapter 2\nInness–Lackawanna<\/a>\nWolgemut<\/a> p. 81v\nCheck this out from\u00a0Science<\/i>, Sept. 5, 1997<\/a>\nMystery Figure<\/a>\nRevelation<\/td>\n\u00a0pay attention to the word “schema” and the idea of “schema and correction”<\/td>\n<\/tr>\n\nFunction and Form<\/b><\/td>\n<\/tr>\n\n\u00a0Class 5 September 18\n<\/a><\/td>\nRead, Learn and Digest: Gombrich — Chapter 3\nBrueghel’s Dulle Griet<\/a>\nPart of Plato’s REPUBLIC (Book X)\u00a0<\/a>cited in Gombrich\nJ. S. G. Boggs<\/a>\nPlatonic Solids<\/a><\/td>\n\u00a0Assignment 1 due by 10 tonight<\/p>\n“Making comes before matching”<\/td>\n<\/tr>\n\n\u00a0Class 6 September 20<\/td>\n\u00a0Read, Learn and Digest: Gombrich — Chapter 4<\/p>\nFirst Greek sculptures in Chapter 4<\/a><\/td>\n\u00a0The role of considering the function (purpose) of art in interpreting why it looks the way it does.\u00a0 From Egypt to early Greece to classic Greece — an then jumping to medieval Europe.\u00a0 Progress?<\/td>\n<\/tr>\n\n\u00a0Class 7 September 25<\/td>\nRead, Learn and Digest: Gombrich — Chapter 5<\/p>\nMondrian works<\/a>. Look especially at the development of his “trees.”<\/p>\nSee beginning of Morris art lesson video<\/td>\n\u00a0The Robert Morris video is linked to your Moodle page.\u00a0 At the bottom of the left hand column, after all the dates, is a line labeled Kaltura Media Gallery.\u00a0 Click on that.\u00a0 One video should show up to click on.<\/td>\n<\/tr>\n\nThe Beholder’s Share<\/b><\/td>\n<\/tr>\n\n\u00a0Class 8 September 27<\/td>\nBegin Gombrich — Chapter 6<\/p>\nFrank Gehry Sketching<\/a><\/p>\nVideo (Robert Morris)<\/td>\n<\/td>\n<\/tr>\n\nClass 9 October 2<\/td>\nRead: Gombrich — Chapter 7<\/p>\nBrian Rogers on Illusion<\/a>\nNeon Color Spreading<\/a>\nExperiences like Gombrich’s<\/a>\u00a0at the beginning of Chapter VII.<\/p>\nJulian Beever<\/a> anamorphic trompe l’oeil sidewalk chalk art\nBrusspup anamorphs<\/a>\nSandor Vamos Art<\/a><\/td>\n<\/td>\n<\/tr>\n\nClass 10 October 4<\/td>\nFamous Steinberg<\/a><\/p>\nPeter Rose video<\/a><\/td>\n\u00a0Assignment 2 due a week from today, Oct. 11<\/a><\/td>\n<\/tr>\n\nClass 11 October\u00a011<\/td>\nRead: Gombrich — Chapter 8<\/p>\nHogarth False Perspective <\/a>1754<\/p>\nGibson on what lines can do<\/a><\/p>\nGibson’s Psychology of Representation<\/a><\/p>\nGibson’s 1978 revised theory of pictures<\/a><\/p>\nPerspective Rotation<\/a><\/p>\nBonus — see New Yorker article about Berenson on Moodle site\nPainting at issue in Hahn case<\/a><\/td>\n<\/td>\n<\/tr>\n\nClass 12 October 16<\/td>\nContinue: Gombrich — Chapter 8\nGibson ReadingsGombrich’s review of a biography of Gibson<\/a>\u00a0by Edward S. Reed, who was a 1975 graduate of Trinity.\nSee more about Reed here<\/a>\nAlberti perspective<\/a>\nPerspective Tutorial<\/a>\nEvansville Perspective lessons<\/a>\nHow the horizon works<\/a>\nPerspective “distortion.”<\/a>\nBig perspective website<\/a>. Includes previous photo.<\/td>\n<\/td>\n<\/tr>\n\nClass 13 October 18<\/td>\nHow the horizon works<\/a>\nPerspective “distortion.<\/a>“<\/a>\nBig perspective website<\/a>. Good for review\nVermeer — perspective<\/a>Perspective PowerPoint<\/a><\/td>\n<\/td>\n<\/tr>\n\nInvention and Discovery<\/b><\/td>\n<\/tr>\n\n\u00a0Class 14 October 23<\/td>\nRead: Gombrich — Chapter 9<\/p>\nGibson film<\/a>\u00a061 MB<\/p>\nA figure and change<\/a><\/p>\nAnother figure and change<\/a><\/p>\nGibson’s last theory of pictures<\/a><\/td>\n<\/td>\n<\/tr>\n\nClass 15 October 25<\/td>\nNotes to remind you about last class<\/a><\/p>\nGibson memo on affordances<\/a><\/td>\n<\/td>\n<\/tr>\n\nClass 16\nOctober 30<\/td>\nPowerPoint from class with 2 occlusion demonstrations over a painting — now on Moodle<\/p>\nSize of image on window<\/a><\/p>\nArtist with computer routine for caricature\u00a0 — On Moodle site<\/p>\nPainting size experiment<\/a><\/td>\n<\/td>\n<\/tr>\n\nClass 17 November 1<\/td>\n\u00a0Read: Gombrich — Chapters 10 & 11<\/p>\nArtist’s advice on caricature drawing<\/a><\/p>\nCaricatures to study<\/a><\/p>\nShaw face project based on orthodontic theory of Harvey Jenkins and biology of D’Arcy Thompson — see Moodle for paper led by Len Mark, and another led by John Pittenger.\u00a0 The original Harvey Jenkins source is there as well.\u00a0 This work is all about the Gibson style approach of pairing change and non-change;\u00a0 invariants and variants.<\/td>\n<\/td>\n<\/tr>\n\nRobert Irwin and James Turrell<\/b><\/td>\n<\/tr>\n\nClass 18\nNovember 6<\/td>\nCompleting story of the growth transformation of Shaw<\/p>\nTodd et al 1980<\/a><\/p>\nWhen is a painting finished?<\/a><\/p>\nPresentations about artists in the article above<\/p>\nPowerPoint list for above article<\/a><\/p>\nRead: Weschler Chapters 1 – 5<\/td>\n\u00a0Assignment 3 due a week from today, Nov. 13<\/a><\/td>\n<\/tr>\n\n\u00a0Class 19\nNovember 8<\/td>\nRead: Weschler — Chapters 6 – 9<\/p>\nIrwin Video in class<\/p>\nRobert Irwin at the University of Virginia<\/a><\/p>\nRobert Irwin with Lawrence Weschler in Chicago<\/a><\/td>\n<\/td>\n<\/tr>\n\n\u00a0Class 20\nNovember 13<\/td>\nRead: Weschler — Chapters 10-13<\/p>\nLos Angeles County Art and Technology Project<\/a><\/p>\nSan Diego “Light and Space”<\/a><\/p>\nPacific Standard Time<\/a>\u00a0Website<\/p>\nIrwin’s theory of the History of Art<\/a><\/td>\nNathan Knobler theme of art making in terms of decisions to be made.<\/p>\nIrwin, Turrell and Science (LA County)<\/p>\nIrwin lines — Beholder’s share?\u00a0 Who is the audience?\u00a0 \u00a0How many can there be?\u00a0 \u00a0Look at Irwin’s history as an observer — Ibiza, Paris, lines, dots, etc.<\/td>\n<\/tr>\n\n\u00a0Class 21\nNovember 15<\/td>\nFinish Weschler<\/p>\nDia Beacon Robert Irwin information<\/a><\/p>\nRobert Irwin reception<\/a>\u00a0for Pace show July, 2012<\/p>\nFriend and colleague<\/a><\/p>\nIrwin in Marfa, TX<\/a> (Irwin’s part is at about 14 minutes in)<\/td>\n<\/td>\n<\/tr>\n\n\u00a0Class 22\nNovember 20<\/td>\nRecommended resource. Skim to see what is here. Craig Adcock 1990 book on Turrell<\/a>\nNew Turrell website<\/a> Useful overview as of 2018.\nRequired (next 4 items plus video): Adcock on ideas for Roden Crater<\/a> 1989\nLight and Space<\/a> 1994\nTimes article on Roden Crater 2007<\/a>\nNY Times article\u00a0<\/a>2013<\/td>\n\u00a0Watch 1995 French video about Turrell on Kaltura site on Moodle<\/td>\n<\/tr>\n\n\u00a0Class 23\nNovember 27<\/td>\nContinue to study the set listed for last time<\/p>\nMainly, we’ll proceed with film, using the resources below.<\/p>\nAssignment 4 — Due December 4<\/td>\n\u00a0Assignment 4 due a week from today, Dec. 4<\/a><\/td>\n<\/tr>\n\nFilm<\/b><\/td>\n<\/tr>\n\n\u00a0Class 24\nNovember 29<\/td>\n\u00a0Rich sample\u00a0<\/a>in recent YouTube<\/p>\nHigh School Video<\/a>\nCompeting suburban Seattle HS<\/a>\nForward version<\/a>\u00a0 The “competing” video above was made to be shown backward.\u00a0 This link labeled “Forward version” shows how that video was made.<\/p>\nBordwell, Gombrich, and. . . What?<\/a><\/p>\nBordwell chapter<\/a>\nGibson chapter on film<\/a>\nCutting Chapter<\/a><\/p>\nDolly sample<\/a>\nZoom sample<\/a><\/p>\nMaking the Copacobana shot<\/a>\u00a0in\u00a0Goodfellas<\/em>\u00a0by Martin Scorsese\nReverse tracking or “vertigo” shot<\/a><\/td>\n<\/td>\n<\/tr>\n\n\u00a0Class 25\nDecember 4<\/td>\nReview Gibson chapter (above)\nReview Cutting chapter (above)\nEditing — with montage<\/a>\nKuleshov effect and montage<\/a>\nChristopher Nolan films<\/a>\nKoyaanisqatsi trailer<\/a> Mentioned in Cutting chapter\nPerceptual motion phenomenon<\/a> based on Johansson and Runeson.\u00a0 From Trinity senior thesis.\u00a0 Now related to “motion capture.” Example of “event perception” mentioned in Gibson chapter.<\/p>\nThe SteadiCam and how to use it<\/a><\/p>\nFinally: Look for “How Hollywood Does it” video on Kanopy, accessible through Trinity Library.<\/td>\n<\/td>\n<\/tr>\n\n\u00a0Class 26\nDecember 6<\/td>\nSol LeWitt at Trinity<\/a>\nSol LeWitt: For video, check the Trinity Library listings for the videos 1. “Sol LeWitt: Wall Drawings” which is about Mass MOCA, and 2. “Sol LeWitt: 4 Decades.\u00a0 These are in Kanopy for streaming.\nCarl Andre at Dia: Beacon<\/a>\nFred Sandback at Dia Beacon<\/a>\nThe Society for Cognitive Studies of the Moving Image<\/a><\/td>\n\u00a0New resource for you to know about:\u00a0 Cutting, J. E. & Armstrong, K. L. (2018).\u00a0Cryptic Emotions and the Emergence of a Metatheory of Mind in Popular Filmmaking.\u00a0 Cognitive Science, 42<\/em>, 1317-1344.<\/p>\nDOI: 10.1111\/cogs.12586<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\nFinal Paper Due Monday December 17<\/strong><\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":" Fall 2018 This is a “specialized” course if taken for the Psychology Major. Instructor William M. Mace Office: Life Sciences 209A Office Hours: Tuesday – Thursday 11:30 am-1:00 pm and especially by Appointment Contact — \u00a0E-Mail: william.mace@trincoll.edu Personal Website Required Reading Books — E. H. Gombrich,\u00a0 Art and Illusion Lawrence Weschler, Seeing is Forgetting … Continue reading “Psychology of Art (397)”<\/span><\/a><\/p>\n","protected":false},"author":481,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/pages\/17"}],"collection":[{"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/users\/481"}],"replies":[{"embeddable":true,"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/comments?post=17"}],"version-history":[{"count":148,"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/pages\/17\/revisions"}],"predecessor-version":[{"id":242,"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/pages\/17\/revisions\/242"}],"wp:attachment":[{"href":"http:\/\/commons.trincoll.edu\/psyart\/wp-json\/wp\/v2\/media?parent=17"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"http:\/\/adsvm19.cc.trincoll.edu\/ecopsyc\/courses\/psyart\/artimages\/gifs\/alain.gif\"){kind=link}
![Brueghel’s Dulle Griet<\/a>\n](\"http:\/\/uploads3.wikiart.org\/images\/pieter-bruegel-the-elder\/dulle-griet-mad-meg-1564.jpg!HalfHD.jpg\"){kind=link}
![Neon Color Spreading<\/a>\n](\"http:\/\/adsvm19.cc.trincoll.edu\/ecopsyc\/courses\/psyart\/Neon.JPG\"){kind=link}
![Vermeer — perspective<\/a>](\"http:\/\/commons.trincoll.edu\/psyart\/files\/2018\/10\/vermeer.jpg\"){kind=link}