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15 mai 2010
- handle: 10670/1.g6e1f1
- ijn_00488164
- doi: 10.1016/j.concog.2010.04.009
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info:eu-repo/semantics/altIdentifier/doi/10.1016/j.concog.2010.04.009
info:eu-repo/semantics/OpenAccess
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Alessandro Pignocchi, « A. How the intentions of the draftsman shape perception of a drawing. », HAL-SHS : philosophie, ID : 10.1016/j.concog.2010.04.009
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The interaction between the recovery of the artist's intentions and the perception of an artwork is a classic topic for philosophy and history of art. It also frequently, albeit sometimes implicitly, comes up in everyday thought and conversation about art and artworks. Since recent work in cognitive science can help us understand how we perceive and understand the intentions of others, this discipline could fruitfully participate in a multidisciplinary investigation of the role of intention recovery in art perception. The method I propose is to look for cases where recovery of the artist's intentions interacts with perception of a work of art, and this cannot be explain by a simple top-down influence of conscious propositional knowledge on perception. I will focus on drawing and show that recovery of the draftsman's intentional actions is handled by a psychological process shaped by the motor system of the observer.