The Psychology of Art Pt3

The Psychology of Art Pt3 - The Psychology of Art Past...

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The Psychology of Art: Past, Present, Future TOWARD SYNTHESIS There is another alternative, however. It is that of a broader, more diversified approach to aesthetic problems on several fronts. For those who prefer it, there is still much to be done along quantitative, experimental lines. But this can be supplemented by less exact methods and by more synthesis, more mutual checking and verification of hypotheses from different sources. Workers in the nonscientific fields of art scholarship could profit from more contact with experimental psychology. I believe that such cooperation could do much to revive an interest in the psychology of art as an active subject. I am not asking that psychologists abandon their ideals of exact, objective knowledge. Let them keep on using measurement as far as it will take them, but not rely on this approach exclusively or ignore the results of other approaches. The situation calls for more active cooperation between psychologists and other types of scholar. Art historians, critics, and aestheticians should learn more about psychology and vice versa. It seems obvious that, to do research on the psychology of art, one should know something about art as well as psychology. But to find an American-born, American-trained psychologist who has more than a slight acquaintance with the visual, musical, and literary arts is a difficult piece of research in itself. Such persons do exist, but they are hard to find.
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This note was uploaded on 04/19/2008 for the course PSYCHOLOGY Psy of Art taught by Professor Stanford during the Fall '07 term at Franklin CH.

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The Psychology of Art Pt3 - The Psychology of Art Past...

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