- Copertina flessibile: 208 pagine
- Editore: Harry N Abrams; Reprint edizione (1 marzo 2008)
- Lingua: Inglese
- ISBN-10: 0810995549
- ISBN-13: 978-0810995543
- Peso di spedizione: 771 g
- Posizione nella classifica Bestseller di Amazon:
Vision and Art: The Biology of Seeing (Inglese) Copertina flessibile – 1 mar 2008
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"Why do Claude Monet's fields of flowers seem to wave in the breeze?"
"What is the secret of Mona Lisa's smile?"
The first two chapters cover some scientific fundamentals- how light and the human vision works. While this is all very scientific, every effort is made to make it understandable, with plenty of full-color diagrams illustrating the concepts. While these 2 chapters are not the easiest to read, they're not rocket science either, and provide a valuable foundation for the rest of the book. Not essential but VERY useful.
Things start to get interesting toward the end of the 2nd chapter, when we start to understand what a red/green colorblind person sees. But the best stuff starts to come in the third chapter ("Luminance and Night Vision"). Plenty of interesting illustrations are provided in this chapter (like red cherries in a blue bowl, where the cherries appear brighter or darker than the bowl depending on the ambient light, or flickering polkadots), and continues until the rest of a book, making it a truly fascinating read.
Oh, and the explanation on Mona Lisa's enigmatic smile is very convincing.
I definitely recommend this book to anyone interested in both visual art and science.
I also recommend it to anyone who's interested in science and how things work- you'll appreciate some art pieces a lot more after reading this book.
The author gets to the structure of our visual systems, makes them very clear, and tells us things that are lasting and verifiable. Her spirit of personal experimentation shows in the book, and makes us think that looking inquisitively at the world will pay off.
to a number of familiar and famous photographs.
Ever wonder what Ansel Adams and Edward Weston were so successful with the black-and-white photographs but not with their color photographs? I have, and her book has provided me with insights into this and other photographic practices.
I bought a used copy and noticed "student underling" in the first chapter, but an abrupt end to underlining in the second chapter. You know what that means: "This course is not what I expected; I'm dropping out!"
The student and I feel the same way, but I got a lot further.
Buy it, but I found Robert L. Solso's book The Psychology of Art and the Evolution of the Conscious Brain to be a far more exciting read. That one is a five star easily.
Another more engaging book covers many of the same things as Livingstone's but in a more readable style: Visual Intelligence by Donald D. Hoffman.
So, if your interested in vision, etc. I'd start with Solso, then move to Hoffman, and lastly to Livingstone.