This book deals with philosophical aspects regarding the perception of spatial relationships in two and three-dimensional art. It provides a structural understanding of how art is perceived within the space created by the artwork, and employs a mapping sentence and partial order mereology to model perceptual structure. It reviews the writing of philosophers such as Paul Crowther and art theorists such as Krauss to establish the need for this research. The ontological model established Paul Crowther is used to guide an interactive account of his ontology in the interpretations of the perceptual process of three-dimensional abstract art to allow the formulation of a more comprehensive philosophical account. The book uniquely combines structuralist and post-structuralist approaches to artistic perception and understanding with a conceptual structure from facet theory, which is clarified with the help of a mapping sentence and partial order mereology.

Combines philosophy, psychology, and neuroscience and applies them to art Covers abstract fine art from 1950 to the present Offers a template for understanding the creation and viewing of fine art Incorporates a facet theoretical approach Extends the author's previous research into the perception and creation of fine art Includes supplementary material: sn.pub/extras

Autorentext
Paul holds PhDs in psychology and fine art. He is a professor teaching ethnography at Emerson College, Boston and is a visiting academic in the Department of Philosophy at the University of Oxford. He has previously worked at Birmingham, Cardiff and Tufts Universities and has held honorary appointments at institutions such as York University, Toronto, and Birmingham University, UK.

Inhalt
Chapter 1: Introduction: Theories of Perceiving Art.- Chapter 2: Facet Theory and the Mapping Sentence .- Chapter 3: A Mereological Model for Perceiving and Understanding Art.-Chapter 4: Conclusions: Future Research.