A paradigm shift
Back in November 2019 I started posting chapters from “What Scientists can Learn from Artists”, the book which presents the research and the science based ideas that that lie behind much of the contents of my three other books: “Drawing on Both Sides of the Brain”, “Painting with Light and Colour” and ” Fresh Perspectives on Creativity”. I set the ball rolling with with six of the chapters that describe research findings which were in large part responsible for:
- Overturning almost all the preconceptions I had about the nature of visual perception.
- Providing the building blocks required for replacing them with the coherent picture presented in these books.
When I first came across the material I have summarised in these chapters, their cumulative effect on me was more than just fascinating. It amounted to a paradigm shift. My hope is that reading them will perform the same service for others, particularly when buttressed by the contents of earlier and later chapters.
Below is an extract from the “Preface” to “What Scientists can Learn from Artists”, which summarises its structure. The chapters so far published in my Posts come from PART 2. In the next weeks I will be posting chapters from PART 1 and in the coming months chapters from PART 3. I will wait to see the level of interest before I go on to PART 4, which I have reason to believe will be is considerably more demanding on non scientists.
Also below are links to already published Posts.
The structure of the book
Because the context of the knowledge of scientists and artists is so different, it seems prudent to provide a certain amount of background material which, while likely to be familiar to readers from one side of the arts/science divide, may well not be to those from the other. Thus PART 1 contains a number of general ideas both artistic and scientific many of which may well be familiar to one community and not the other, and PART 3 provides a basic introduction for non scientists to the nature of visual perception that emphasises the variety of visual systems involved in different aspects of visual processing. The function of PART 2 is to describe the main experiments used to underpin the theoretical speculations which lead to the general model of perceptual and cognitive processes that provides the subject matter for PART 4. Throughout the attempt has been made to present ideas in such a way that they will be understood by both groups.
Chapters from my book “What Scientists can Learn from Artists”
These deal with subjects that feature in the other volumes in greater depth.
- Chapter 8 – Constraint in artistic aids and practices
- Chapter 9 – Blindsight & the bakery facade
- Chapter 10 – Movement, surface-form and spatial layout
- Chapter 11 – Body colour and local colour interactions
- Chapter 12 – Colour constancy
- Chapter 15 – The other constancies
There are still places vacant for the 2020 sessions of the Painting School of Montmiral. Here a three photos to remind you of our idyllic setting and the seriousness of the teaching