Home Projekt 03 Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7  

The personal framework

The undifferentiated inner textile of art can never be fully understood. We convert it into something more solid and specific by the act of perceiving it. This difficulty turns out to be an actual epistemological problem, similar to that involved in our incapacity for observing both movement and position of an electron. The ray which we are forced to use for observing it throws the electron of its course. In either case the means of observation interferes with the phenomenon to be observed so that it can never be caught in its original state.

The understanding of different perceptual cues1 takes place at a high cognitive level, where they are mapped onto the cognitive representation of space. That means that there is no direct relationship between perceptions see attachment( PDF file) in addition to human verbal communication. Perceptual qualities are reflected in language only by means of conceptualization. Seeing at all times includes seeing-as, that is classifying what is perceived. Perception deals with the interaction connecting the perceiver and the perceived world. The normal connection linking body and space is the source for our cognition of space. The essence of concepts provides an iconic relationship between the perceiver and the perceived world. The intercession between perception and language is achieved by social cultural and cognitive schema.

1Two- and 3-year-old children learn new object names rapidly, often correctly determining the range of instances to which the name applies from just one experience hearing the word used in a single context. Children do this by exploiting multiple cues to meaning. Past research indicates they use both linguistic cues and perceptual cues to figure out the likely meaning of a novel noun Quinn, P.C., & Eimas, P. D. (1996). Perceptual cues

Page 1
 <<Back      < Previous        Next >

Visual spiral-Movie (1.8 Mb)