In lieu of an abstract, here is a brief excerpt of the content: Leonardo,Vol. Pergamon Press 1968. THE ECOLOGICAL APPROACH TO THE VISUAL PERCEPTION OF PICTURES* James J. The Ecological Approach to the Visual Perception of Pictures. Psychologist, J. Printed in Great Britain GUY s. MBtraux, Corresponding Editor Readers are invited to recommend books (within the scope of the journal) to be reviewed. Only books in English and French can be reviewed at this stage. Readers who would like to be added to Leonardo’spanel of reviewers should write to the Founder-Editor, indicating their particular interests and specialisation. Nous serions reconnaissants 2 nos lecteurs de bien vouloir nous indiquer les livres-conps dans l’esprit de notre revue-qui pourraient faire l’objet dun compte rendu dans lesprochains nume‘ros. Seuls les ouvrages re‘dige‘sen anglais ou enfrangaispeuvent &re pris en conside‘rationpour le moment. Les lecteurs qui de‘sireraient.figurer parmi les critiques de livres peuvent s’adresser au Fondateur-Directeur de Leonardo, en indiquant leurs inte‘rr@ts particuliers et leur spe‘cialization. TheSensesConsidered asPerceptualSystems. The Senses Considered As Perceptual Systems Gibson PdfGibson, Houghton Mifflin, Boston, 1966. 351pp., illus., $7.50. Artists traditionally are experimenters in visual psychology. Cezanne’s preoccupation with edges, Monet’s attempts to catch the highlights of a sundrenched landscape, and Seurat’s decomposition of a scene into dots-all may be regarded as consciousexcursionsintovisualpsychology. Despite the large body of literature in scientific visual psychology, most artists do not appreciate the relevance of that work to art, and for good reason. Psychologists tend to worship the methods of the physical sciences which have advanced so spectacularly, due in a large measure, to reducing the number of variablessothat the essenceof a problem is revealed. As a consequence, the psychologist examines isolated phenomena free of (what he thinks) are extraneous variables.
![]() 5 Perceptual Systems PerceptionBut art is not like this-the impact of a painting is not due to the sum of its parts. Perhaps it is for this reason that many artists regard the work of psychologists as sterile or, at least, irrelevant to art. Psychologists, on the other hand, may regard artists as being verbally inarticulate or, perhaps, lacking in mental discipline. The gap between the artist and the psychologist is so vast that a possible rapprochement seemed out ofthequestion. Now along comes the startling book by the psychologist, J.
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