Rudolf Arnheim

Rudolf Arnheim
Rudolf Arnheimwas a German-born author, art and film theorist, and perceptual psychologist. He learned Gestalt psychology from studying under Max Wertheimer and Wolfgang Köhler at the University of Berlin and applied it to art. His magnum opus was his book Art and Visual Perception: A Psychology of the Creative Eye. Other major books by Arnheim have included Visual Thinking, and The Power of the Center: A Study of Composition in the Visual Arts. Art and Visual Perception was revised, enlarged...
NationalityGerman
ProfessionArtist
Date of Birth15 July 1904
CountryGermany
Would there be any truth in saying that psychology was created by the sophists to sow distrust between man and his world?
The rehabilitation of order as a universal principle, however, suggested at the same time that orderliness by itself is not sufficient to account for the nature of organized systems in general or for those created by man in particular.
Modem science, then, maintains on the one hand that nature, both organic and inorganic, strives towards a state of order and that man's actions are governed by the same tendency.
Orderliness by itself is not sufficient to account for the nature of organized systems in general or for those created by man in particular. Mere orderliness leads to increasing impoverishment and finally to the lowest possible level of structure, no longer clearly distinguishable from chaos, which is the absence of order. A counterprinciple is needed, to which orderliness is secondary. It must supply what is to be ordered.
Now the work of art also represents a state of final equilibrium, of accomplished order and maximum relative entropy, and there are those who resent it. But art is not meant to stop the stream of life. Within a narrow span of duration and space the work of art concentrates a view of the human condition; and sometimes it marks the steps of progression, just as a man climbing the dark stairs of a medieval tower assures himself by the changing sights glimpsed through its narrow windows that he is getting somewhere after all.
The absurd consequences of neglecting structure but using the concept of order just the same are evident if one examines the present terminology of information theory.
Furthermore, order is a necessary condition for making a structure function. A physical mechanism, be it a team of laborers, the body of an animal, or a machine, can work only if it is in physical order.
Man's striving for order, of which art is but one manifestation, derives from a similar universal tendency throughout the organic world; it is also paralleled by, and perhaps derived from, the striving towards the state of simplest structure in physical systems.
Today we no longer regard the universe as the cause of our own undeserved troubles but perhaps, on the contrary, as the last refuge from the mismanagement of our earthly affairs.
Since mechanically obtained randomness contains all kinds of possible permutations, including the most regular ones, it cannot be relied upon always to exhibit a pervasive irregularity.
A good documentary or educational film is not raw experience. The material has passed the mill of reason, it has been sifted and interpreted.
It would be most wholesome if for at least twenty years art historians were forbidden to refer to any derivations. If they were not allowed to account for a work of art mainly by tracing where it comes from, they would have to deal with it in and by itself--which is what they are most needed for.
The experienced physician, mechanic, or physiologist looking at a wound, an engine, a microscopic preparation, "sees" things the novice does not see. If both, experts and laymen, were asked to make exact copies of what they see, their drawings would be quite different.
Some popular quotations smell of airless closets. They exhale the stale imagination of the intellectual lower middle class. "Suspension of disbelief" has become one of them. Dressed up as a scintillating double negation, it serves the pedestrian notion of art as illusion.