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- W262947970 abstract "The overall purpose of this chapter is to present a psychological perspective on the themes of art and identity. I will explore complementary relations between the 'Thinking-G and the 'Being-I.' The Thinking-!, ' related to the ego, is fundamentally pragmatic and helps the person fulfill needs and goals through a pragmatic analysis of the world and this extends to the application of technique in art. The 'Being-G is related to a sense of self and an ability to critically reflect upon the ego and its thinking or purposive activities. A complementary relationship links the 'Thinking-G and the 'Being-G in that a sense of identity emerges when the self approves of the ego's achievements. In their attempt to deal with cultural and media offerings, people can shift between a more superficial examination based on a pragmatic desire to change moods and a more profound effort to find personal or collective emotional meaning in the work. Research in experimental aesthetics has provided a concrete framework within which to test these ideas.1. The 'Thinking-G and the 'Being-I'In earlier work (Cupchik and Leonard 1997; Cupchik 1999), I have described a complementary relationship between the 'Thinking-G and the 'Being-G in psychology and the arts. The 'Thinking-G is similar to Freud's concept of the ego and facilitates strategic adaptation to challenges posed by the physical or social environments. The 'Being-G is more closely tied to the 'self and reflects a person's situation with reference to the social world. Meaningful actions can be observed in both contexts. At a microscopic level of analysis, action serves a biological function by helping to preserve the organism in an adaptive context. At a macroscopic level, action is associated with decisions whereby a person affirms himself or herself in relation to a social world. While expression can be tied to purposive or intentional planning, it is more closely related to spontaneous acts that reveal feelings and emotions associated with the self. Together, these concepts cover the interpretation of events in the social world and action or emotional expression with reference to them.The 'Thinking-G (or 'Thinking-Eye') was essentially described by Rudolf Arnheim in his book Visual Thinking (1969), where he argued that artistic creation shares perceptual and cognitive actions in common with everyday mental activity. He wrote:My contention is that the cognitive operations called thinking are not the privilege of mental processes above and beyond perception but the essential ingredients of perception itself. I am referring to such operations as active exploration, selection, grasping of essentials, simplification, abstraction, analysis and synthesis, completion, correction, comparison, problem solving, as well as combining, separating, putting in context.... By 'cognitive' I mean all mental operations involved in the receiving, storing and processing of information: sensory perception, memory, thinking, learning. (1969: 13)In Art and Visual Perception (1954), Arnheim argued that thinking and feeling are complementary processes involved in the creation and reception of art. He emphasized the ability of painters to holistically grasp the integrated structure of artworks. But the artist's work is not just about structure since it is also dynamic and expressive. The expressive quality is embodied in a configuration of forces which are embedded in the structure. Viewers can discern these perceptual patterns and feel the expressive qualities without being explicitly aware of the specific underlying structural features. The meaning attributed to a painting thus reflects a figure/ground relationship in which its subject matter resonates with the expressive qualities embedded in its style. This description of an interaction between sensory and cognitive qualities that creates multileveled meaning (Kreitler and Kreitler 1972) is distinctive to Gestalt psychology. In the ontogenesis of a meaningful aesthetic experience, the products and feelings associated with early global processing provide a context which shapes the unfolding event (Cupchik and Winston 1996). …" @default.
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- W262947970 date "2013-01-01" @default.
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- W262947970 title "IV. I Am, Therefore I Think, Act, and Express Both in Life and in Art" @default.
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