Abstract

My article shows how color-psychologically designed learning environments as a form of non-verbal pedagogy increase learning motivation, concentration and learning performance by promoting well-being, emotional security and appreciation in everyday school life. Based on biological and cultural-psychological mechanisms, it explains how precisely coordinated color atmospheres support stimulus regulation, orientation, self-regulation and social interaction. A completed school building project demonstrates that evidence-based color design brings about measurable improvements in learning behavior, the social climate and the health stability of students and teachers.

Table of contents

1. Introduction: Color as a non-verbal pedagogy and underestimated health factor in school construction
2. The biological and cultural foundations of color perception
3. Schools are high-performance color psychology rooms
4. Applied color psychology in educational construction: principles instead of primary colors
5. Case study: The Mosaic School Grevesmühlen
6. How color spaces support learning, behavior and social climate
7. How the health of teachers and therapists benefits
8. Practical recommendations for evidence-based color design in school buildings
9. Conclusion: Color as an underestimated resource for school development

Link to the Bavarian School Advisory Service (free test access)

Link to the fee-based online platform School Counseling Handbook

Der Beitrag Color psychology in school construction erschien zuerst auf Farbpsychologie.

Evidence-based colour design for the MOSAIK-SCHULE Grevesmühlen Special school with a focus on intellectual development

In the city of Grevesmühlen, a forward-looking school campus with a wide range of inclusive learning opportunities is currently being built. Our Institute for Evidence-Based Color Psychology accompanies the new building in the field of color design. The aim is to scientifically investigate the influence of colour and light on the well-being and behaviour of all those involved – children, parents, teachers, therapists – and to implement it in a practical way.

The project focuses on the question of how atmospheric design can influence learning behaviour, social interaction and the feeling of appreciation. The participatory approach was formative from the very beginning: An initial colour workshop was the prelude, in which the needs of future users in various spatial situations were analysed and discussed.

In the meantime, the painting and flooring work has been completed. The rooms are taking shape – well thought out in terms of colour and coordinated with the users. The last photos show impressive impressions: people who look forward to the completion with joy and eager anticipation. What is still missing is the furnishings – and above all the people who will fill this place with life. Only then can the colour concept be experienced in its entirety.

Completion and move-in:
The handover to users is planned for October 2025.

Performers:
– Colour design: Heike Krauss
– Scientific Accompanying Research and Photography: Leila Rudzki

The participatory project has already begun. The event kicked off with a color workshop. The focus of the discussion was on the needs of the users in the different spatial situations of the planned school building.

After the preliminary design and design phases, the sampling of the colour concept was now on the agenda. For this purpose, sample areas of the most important colours were created on the construction site, which we then examined together with the users and the architect. Sampling is the last indispensable phase in any participatory and evidence-based color concept. Here, the interactions of the colours with the lighting conditions and room proportions on site are revealed. There has never been a sampling where we haven’t adapted the majority of all shades, often just one shade, but this can be crucial to the well-being, satisfaction and interactions of students, teachers and therapists during the use phase.

Contributors to this project:
Colour design Heike Krauss,
accompanying scientific research and photos Leila Rudzki

The completion of the school and the handover to the users is planned for autumn 2025. Link to the website of the Mosaikschule – Diakoniewerk im nördlichen Mecklenburg

Der Beitrag Evidence-based color design MOSAIK-SCHULE Grevesmühlen erschien zuerst auf Farbpsychologie.

Our perception of color is shaped by biological and cultural factors, which is why it is objective and communicable where it serves to communicate with nature and people. Colors are our window to the world – in harmony with all our senses, this window determines what we perceive of the world, what we react to and how we feel about it. But the power of color extends far beyond our species. Colors form the largest communication system on earth. Every color in nature has precisely definable biological functions.

Color is an atmospheric environmental factor that can make us tired, listless and ill or keep us awake, active and healthy. In the world’s largest study on the effects of colors on the well-being and health of patients and staff in intensive care medicine, my research team and I have discovered both frightening and encouraging facts. Atmospheres not only have an effect on people’s well-being and health, they also influence medication consumption and the level of illness among care staff.

Link WDR Quarks Audio

WDR Quarks Mediathek – Report to listen to again

Der Beitrag How colors work erschien zuerst auf Farbpsychologie.

Initial situation Planning knowledge:

There is currently a lack of scientifically proven criteria for the effectiveness of color and lighting design in school buildings in the specialist literature. The requirements and needs of the most important user groups such as pupils, teachers and parents with regard to the atmospheric design of school buildings are largely unknown. Systematized empirical knowledge and concrete planning aids on the subject are not available.

Furthermore, this topic is not given sufficient attention in research and teaching at architecture schools across Europe, which is why architects and design professionals today must rely on manufacturers’ color collections and their own individual preferences both during and after completing their studies.[1] However, the application of color systems offers no guidance on the effects of light and color on specific user groups and usage situations within a space.[2] The widespread neglect of the systematic use of light and color to create atmospheric spaces in modernism has resulted in the fact that design principles on this topic are hardly taught today. Empirical knowledge from the “pre-modern” and “classical modern” periods is no longer part of the repertoire of design fundamentals.

The symbolic color of modernity and the generally accepted standard for interior design is still white, even though colorfulness is on the rise again today. In the area of color and lighting design, aesthetically sophisticated practical examples can be found that are regularly published in trade journals. However, discussions with the authors show that color and lighting concepts are strongly based on subjective parameters such as intuition and a sense of beauty, whereas participatory methods and scientific foundations are lacking (Buether 2014). [3]

Research results on architectural practice with light and color in school construction based on participatory procedures and scientifically proven findings and evaluations of the perception and behavior of relevant user groups could not be found in advance research. The research project therefore serves as a model. The aim of the research project is to produce basic knowledge that will subsequently be made available to the general public in the form of scientific publications, specialist presentations, etc. Subsequently, guidelines and recommendations for color and lighting design in school buildings will be drawn up, which are based on the current state of research and practice and can be used in the opinion-forming, planning and decision-making process.

[1 ] Axel Buether is a recognized expert on this topic. He is the organizer of numerous symposia and congresses, author of numerous specialist publications, speaker at numerous specialist conferences, is doing his doctorate on the subject of “Semiotics of the visual space – neurobiological foundations of spatial-visual perception, design and communication”, Professor of “Didactics of Visual Communication” at the University of Wuppertal and Chairman of the Board of the German Colour Centre – Institute for Colour and Light in Science and Design.

[2] Buether, Axel. Application of color systems in architecture – benefits and limitations. Article in DETAIL 12/2016 – Color, material, surface

[3] Buether, Axel. Color. Design principles, planning strategies, visual communication. DETAIL Practice 2014

Objective Research project “Donarstrasse elementary school”:

1) Assessment of the psychological effects of color and lighting design in school buildings:

• a) students’ motivation, academic performance, and well-being
  b) teachers’ motivation, teaching performance, and well-being
  c) parents’ satisfaction and acceptance

2) Development of a participatory process methodology for the implementation of successful color and lighting designs for school buildings

1. a) Collection of research data using quantitative and qualitative methods
   (documentation, questionnaires, and interviews).
   b) Analysis of the research data and establishment of representative criteria for planning color and lighting designs in school buildings.
   c) Systematization of the criteria and development of guidelines for color and lighting designs in school construction, which are intended to become an integral part of participatory planning processes.

The colors of fear

Selection model project: Donarstrasse elementary school:

The “Donarstrasse Primary School” property meets the main criteria for the research project:

1. The size and layout of the rooms are within the structural standards for elementary school. The property is in great need of renovation.
2. The condition before the renovation can be documented and related to the statements of the three status groups, which is a prerequisite for the subsequent evaluation of the effects.
3. The condition after the renovation will show what effects can be achieved under almost identical structural conditions for the three status groups through targeted interventions in the areas of light and color. Criteria for the prototypical development of a participatory process methodology for the implementation of successful color and lighting designs for school buildings are derived from the verified research results.
4. The three status groups – pupils, teachers and parents – as well as the school management are willing to actively participate in the research project and have already demonstrated their commitment in a kick-off workshop.

Der Beitrag Participatory strategies for color and lighting design in school buildings erschien zuerst auf Farbpsychologie.

What is an educational film?

The term “educational film” has not yet been clearly defined in the sciences, which is why I would like to define it from the perspective of didactics.

Table of Contents Chapter:

Theory of the educational film

• What is an educational film?
• What is the relationship between teaching personality and authorship?
• Why do educational films have to be interesting, entertaining and convincing?
• How can the educational potential of educational films be activated for learning success?
• What significance does the target group have for the successful conception of educational films?
• What is the difference between scientific and artistic educational films?
• How can the potential of educational films be used for knowledge communication?
• What contribution does educational film reception make to general and specialist education?
• What contribution does educational film production make to professional and media skills?

Rhetorical design of educational films

• What is film rhetoric and what are its benefits for educational films?
• Three methods of educational film rhetoric
• Five design phases of educational film rhetoric
• The aesthetics of the educational film – Rhetorical stylistic figures
• Selection of important rhetorical devices

Conclusion:

10 didactic criteria for the definition of educational films:

1. Educational films are audiovisual media whose production and reception primarily serve to promote teaching and learning processes.
2. Educational films are audiovisual media that enable the targeted and method-guided achievement of learning objectives.
3. The analytical potential of educational films promotes the transfer of knowledge and experience and enables the explanation and illustration of events, process contexts and findings.
4. The artistic potential of educational films promotes processes of understanding and enables the aesthetic, social and cultural formation of the personality.
5. The characteristics of educational films include the “clear recognizability of the learning objective”, the “resonance-generating addressing of the target group”, the “didactic effectiveness of the teaching method”, the “comprehensible communication of content”, the “relevant generation of attention”, the “lasting sustainability of the learning processes” and the “criteria-based verifiability of learning success”.
6. Addressing the target group is the starting and fixed point in the conception and production of educational films, whose interests and reception skills are determined by individual factors such as age, gender, socialization, education, culture, religion, family and origin.
7. The use of creative and technical means, such as image, sound, language, movement, perspective, color, light, place and time, acting, dramaturgy, camera and editing, primarily serves the learning success in the educational film.
8. A basic distinction can be made between scientific and artistic forms of educational films, which can be characterized in terms of educational objective, methodology and aesthetics. Mixed forms are useful if they promote learning success.
9. In scientific educational films, the learning objective is defined in the form of a clearly understandable question. The content reflects the current state of theory, research and practice in the selected subject area. Subjective opinions must remain recognizable as such. Statements must be substantiated by sources. The technical accuracy must not be impaired by a reduction in content and artistic means. The content is didactically reduced to such an extent that it is possible to answer the question clearly and unambiguously at the end.
10. In the case of artistic educational films, the learning objective is defined by the effects achieved by teachers and learners through reception and production. The intended effects (learning objective) are determined by the intentionality of the author. The learning success is shown by the reactions of the recipients. Since the learning process for artistic educational films is largely implicit, it must be made explicit in order to initiate understanding processes and ensure learning success through didactic means such as joint film discussions, independent film analyses, interpretations or creative interventions.

10 didactic criteria for the successful design of educational films

1. Determining the Topic
   The first step in developing any educational film is identifying the topic. The content must lend itself to a narrative structure and be presented in a clear and engaging manner. Audiovisual media have a linear narrative structure that allows for temporal, spatial, and thematic shifts.
2. Define the Learning Objective and Develop a Research Question
   The learning objective should be formulated as a clear research question that guides all subsequent learning phases until a complete and coherent answer is reached. The conception, design, and production of educational videos serve to achieve the learning objective and ensure lasting learning success.
3. Didactic Simplification of the Learning Unit
   Each educational video is a self-contained learning unit designed to help students achieve a predefined learning objective. By didactically simplifying the complexity of the question and content, it must be ensured that the intended learning outcome is achievable. Content necessary to answer the question must be identified, linguistically structured, and presented clearly. The content must be organized in such a way that lasting learning success can be guaranteed. Forms and content that are unnecessary for answering the question should be omitted entirely or, alternatively, covered in a separate educational video. The amount of necessary content—and thus the length of the educational video—can be controlled by narrowing or broadening the question. Through problem-solving, additional aspects, variations, and paths to the goal can be conveyed. Technical terms, as well as subject-specific images and graphics, must be explained where specialized knowledge and prior experience cannot be assumed. Unresolved questions should only be left open if a subsequent discussion takes place, a continuation in the form of a series of educational videos is planned, or additional resources are cited.
4. Choosing a Teaching Method
   The subject matter determines the teaching method. The analytical potential of educational films can be harnessed particularly effectively to teach scientific topics. Analytically structured educational films promote the transfer of knowledge and the development of experience, and enable the explanation and illustration of events, process relationships, and insights. The analytical potential of educational films can be harnessed particularly effectively to stimulate comprehension processes. Artistically structured educational films promote the aesthetic, social, and cultural development of the individual.
5. Title, cover image and synopsis
   The title, cover image, and abstract of an educational video must be designed to successfully appeal to the target audience’s interests and clearly define the learning objective. Including and specifying keywords attracts attention and facilitates searches for both humans and algorithms.
6. Target Audience Analysis
   Educational films are made for target audiences of learners, although, of course, entirely different audiences can also benefit from them. The curious and inquisitive mindset of the target audience—which is essential for educational success—must not be taken for granted but must be fostered through the content and narrative structure of the educational film. The form and content of an educational film must be determined and designed in such a way that they optimally promote the achievement of the learning objective and ensure lasting learning success among the target audience. Educational films must be designed to be understandable, interesting, and entertaining for the target audience of learners.
7. Aesthetic Design and Rhetoric
   The aesthetics of an educational film determine the form of perception, which in turn influences the content. The way in which something is expressed and presented shapes the viewers’ value judgments. Neglecting the formal aspects of educational film design can distort important messages or cause them to be lost entirely. Rhetoric, or the “art of speech,” is a proven means of aesthetically shaping linguistically structured content, and in the form described here, it is also well-suited for the design of educational films. No one can be forced to learn—a fact that has long been known and is further supported by the current state of neuroscience. Educational films are based on the art of convincing their target audience to learn through effective arguments. Cognitive and emotional factors such as curiosity, a playful spirit, a thirst for knowledge, and a sense of enjoyment are helpful in ensuring that the target audience remains engaged with the film’s narrative until the end, internalizes the content, and can present it clearly when needed.
8. Research and review the current state of research and practice
   When searching for topics, care must be taken to ensure that the learning content can be subject to academic scrutiny, as scientific standards require that only the current state of theory, research, and practice be presented. Artistic approaches must remain recognizable as such. Works of art or artists speak for themselves or are analyzed, contextualized, and classified through the expertise of various academic disciplines. Unresolved problems, divergent approaches to solutions, contradictory explanations, and differing experiential backgrounds must be identified as such. This can be achieved by comparing and contrasting theses, explanatory models, and expert opinions.
9. Education towards openness, critical thinking and the ability to engage in discourse
   Educational films should be neither didactic in part nor in their entirety, but rather cultivate in viewers and listeners a curious and critical attitude towards all forms of knowledge transfer and experiential learning. Educational films should promote critical thinking and an open mind, as knowledge and understanding can always be expanded or falsified. Where this is not possible, the content represents beliefs or personal opinions, which must be clearly identified as such. What is correct as an answer or solution to a particular question or problem may lead to misleading or incorrect statements in similar cases. Therefore, it is important that every educational film allows for inferences about the context, sources, and thought processes involved. Educational films should stimulate discussion, feedback, reflection, and critical evaluation of content, form, and methods.
10. Evaluation Criteria and Validation of Results
    The design of educational videos involves defining the learning objective, which ensures that learning success can be verified. The criteria for evaluating and assessing learning success are determined by whether and to what extent learners in the target audience have achieved the specified learning objective. The evaluation criteria should be established at the beginning of the educational video design process, as they serve as key benchmarks throughout the entire design and production process. These criteria can be documented in the synopsis, thereby providing both educators and learners with clear objectives for discussion and the evaluation of learning outcomes. To ensure reliable results, it is important to consider the different objectives of academic and artistic educational films. If a scientific research question is chosen, specific factual knowledge and methodological competence can be evaluated. If an artistic question is chosen, topic-related comprehension processes and aspects of personal development can be evaluated.

10 didactic criteria for the analysis, assessment and evaluation of educational films

The focus of the assessment and evaluation of educational films is on learning success. The analysis of learning success must be carried out objectively and lead to the creation of comprehensible assessment criteria. A good educational film ensures that the learning objectives defined in advance are achieved for the intended target group. The quality criterion for a good educational film is the degree of learning success, which can be determined in advance and evaluated afterwards.

1. Definition of the learning objective: Has the learning objective been clearly defined? What relevance does the topic of the educational film have for general or specialist education?
2. Film rhetorical concept: Does the question and the appearance of the educational film generate attention and interest among the target group? Were the learning ability and learning behavior of the target group correctly analyzed? Is the learning objective achievable by the target group? Which rhetorical method and which rhetorical means are used to address, convince and sustainably ensure the learning success of the target group?
3. Content-related communication concept: What knowledge and experiences should be conveyed to the recipients through the educational film? Are the contents described necessary and sufficient for achieving and securing the learning objective? Is the content described well researched and backed up by sources? To what extent does storytelling help to achieve the learning objective and ensure sustainable learning success?
4. Methodological teaching concept: Is a teaching method recognizable and to what extent does it serve to achieve the learning objective and ensure sustainable learning success?
5. Media didactic concept: Is the storyboard emotionally convincing, clear in terms of content and methodically structured in a meaningful way? Are filmic means used effectively to achieve the learning objective and to ensure sustainable learning success? Is the necessary media didactic reduction demonstrated in the storyboard? In what context is the use of the educational film particularly effective?
6. Media design concept: What function does the media design have in achieving the learning objective and ensuring sustainable learning success? Are the design ideas and presentation techniques listed in the storyboard used methodically and sensibly? To what extent does the form of the educational film support the communication and discourse of the content?
7. Media technology concept: Is there a realistic plan for the temporal, organizational and technical process of the film production (concept phase, planning phase, production phase, post-production phase) and how well was it prepared?
8. Quality of implementation: What is the aesthetic, content-related and didactic quality of the educational film? How high is the entertainment value of the educational film and what contribution does it make to achieving the learning objective and ensuring sustainable learning success? How effective is the relationship between the effort and benefit of the educational film for the learning success of the target group?
9. Educational value: What educational value does the educational film have for the target group? What value does the knowledge have for the general and professional education of the target group? What emotions and feelings are aroused in the target group and does this succeed in creating empathy? To what extent does the educational film enable individual support for the recipients? Are there opportunities for internal differentiation, taking into account the cognitive, social, cultural and emotional diversity of the target group?
10. Evaluation: To what extent was the learning objective achieved through the film reception? Does the educational film reach its target group? How is the educational film rated by the target group? Was there a discourse on the educational film and what role does it play in learning success? How sustainable is the learning success?

Complete book contribution in:

ISBN 978-3-86736-428-7

Link to koepad – Publisher

Der Beitrag Didactics of educational films – teaching and learning through audiovisual media erschien zuerst auf Farbpsychologie.

The aesthetic effect of architectural color is determined by the interaction of material color and the influence of light in the built space. The atmospheric effect of the color changes with the angle of the sun to the component, with the season, the time of day and the weather. Paintings and color prints on unstructured paper or representations on computer monitors are only meaningful if planners and designers know all the influencing factors and can assess their spatial effects.

Der Beitrag Update course: Color & light erschien zuerst auf Farbpsychologie.

10 points for designing creative processes

1. Leisure – creating space for playful-experimental situations
2. Working atmosphere – create or search for thematically stimulating contexts
3. Feeling of pleasure – finding an emotionally motivating attitude to the topic
4. Interest – Finding a mentally motivating perspective on the topic
5. Reflection – perception and evaluation of the course of the process
6. The flow of ideas – making the journey the destination and going on a voyage of discovery
7. Synergies – participatory learning and autonomous thinking in discourse
8. Inspiration – seeking socio-cultural and interdisciplinary exchange
9. Improvisation – cultivating spontaneity and gut feeling on the fly
10. Originality – focus on the search for ideas and personality development

Organizer’s concept for the lecture series

Creativity and learning are closely linked in many didactic questions and practical designs. Wilhelm Ebert already discussed this in the 1970s in his monograph “Creativity and Art Education”. However, when we talk about learning in art today, there is not always a uniform understanding of what should be learned at all. While some speak of aesthetic learning, others see artistic processes or the formation of ideas as central to learning in art lessons. However, creativity is given little consideration in many current theories and discussions. Creativity is still regarded more as an ill-defined term, too worn out by its inflationary use, for example in the hobby and craft industry, but also in many justification structures for art education. However, little consideration is given to the fact that creative thinking and acting can be understood as a core competence of artistic design and can therefore make an important contribution to learning in the subject of art.

The lecture series aims to take a closer look at the connection between creativity and learning in art and discuss it from different perspectives and art education positions. Theoretical and empirical contributions as well as contributions from school practice form the basis for this.

Lecture Series “Creativity in the Current Discourse on Art Education”
Lecture by Prof. Dr. Axel Buether “Teaching and Learning Creativity”
May 9, 2016, 6:00 p.m. – 7:30 p.m.
Alanus University of Arts and Social Sciences
Alanus University of Arts and Social Sciences
Villestraße 3 – 53347 Alfter
Location: Campus II, Villestraße 3, 53347 Alfter

Link to the homepage organizer

Der Beitrag Teaching and learning creativity – The methodical promotion of creative intelligence erschien zuerst auf Farbpsychologie.

Creative intelligence can be nurtured throughout one’s life if the innate urge to play is allowed to unfold through experimental strategies. Axel Buether has described ten fundamental didactic principles for the design process that can be used to systematically teach and learn creativity.
Four creative strategies open up new paths: You’ll learn to listen to your intuition, to see and depict what’s essential, to develop unconventional perspectives, to create an atmosphere, and to develop your own color combinations.
In the numerous practical exercises, illustrated with over 1,000 images, you’ll create, for example, plastic spoon projections, color profiles in kindergartens, or bizarre fabric sculptures. In the process, it becomes clear how creative processes lead to new ideas and astonishing results. A “sample book” for every kind of innovation development, focusing not only on the individual work but also on the exploration of the phenomenon of “creativity.”

464 pages
1,012 color illustrations
22 x 17 cm
hardcover
EUR [D] 39.90
€ [A] 41.10 / sFr 50.50
Publication date: March 6, 2013

Free download

You can now download the book free of charge using the link below. The copyrights and rights of use remain unaffected. The book is available for educational purposes only and may not be reproduced in part or as a whole, nor may it be used commercially

Info Seemann Henschel Verlag

Browse through the book at amazon:

Creative design as a process for finding and communicating ideas

The “paths to creative design” offer everyone the freedom to creatively explore their own way of being in the world. It doesn’t matter whether he is interested in the precise development of concrete solutions to problems or whether the joy of playing opens up an intuitive path to new contexts. The challenge of familiarizing themselves with different media and working techniques in the shortest possible time leads to the development of individual creativity strategies, flexibility in dealing with media and an awareness of their own capabilities. The lifelong search and learning that forms the core of every creative activity promotes the development of an independent creative position.

The methodical promotion of creative intelligence

The term intelligence refers to a person’s ability to learn from experience, adapt to new situations, understand abstract concepts and harness knowledge to change their living environment. Creative intelligence is closely linked to the function of the prefrontal cortex, which determines our ability to think divergently. Damage to this brain center impairs our mental flexibility and our ability to communicate. The people affected can hardly find new or alternative strategies to solve the problems they face. The learned thought and action routines, on the other hand, function almost unimpaired.

Creativity is the driving force behind every invention

It forms an integral part of human intelligence. Everyone is creative when their innate curiosity and play instinct can develop freely. The skills of observation, improvisation and experimentation already acquired can be systematically encouraged throughout life by constantly creating new challenges for each individual. Creative strategies are helpful when they inspire people, stimulate unusual questions, provoke independent ideas and drive spontaneous action.

Der Beitrag Ways to creative design. Methods and exercises erschien zuerst auf Farbpsychologie.

While the position of the words determines the message of the sentence, we determine the overall message of a descriptive work by the arrangement or composition of its parts. By defining our perspective, we convey our point of view to the viewer and give them their reading direction. The author of a descriptive work is therefore always the subject in the design process, who inscribes his or her perspective on the object in order to solve the problem associated with the production purpose. In the process of interpretation, on the other hand, the viewer is confronted with the designer’s perspective through the work and invited to explore his world of ideas. Every descriptive work of our natural or cultural environment is therefore ambiguous and opens up an infinite number of perspectives for us to form a point of view and question our point of view.

Our ability to change our current point of view determines our scope for thought and action. This is the only way we can keep discovering new perspectives. The development perspective of the natural and cultural space is presented to us today against the background of an evolutionary principle of creation. The observation of living beings gives us perspectives on the morphogenesis of their organism, just as products give us perspectives on their purpose. Biospheres show us perspectives on the ecological conditions of their creation, just as cities reveal to us perspectives of society on the conditions of coexistence.

Publication “The formation of spatial-visual competence”

Der Beitrag Formation of perception erschien zuerst auf Farbpsychologie.

We do not see “images” that we subsequently interpret, but rather the already visualized, embodied or spatialized result of our interpretation process. This is only complete when we stop searching for new things through our attentive gaze and questioning what we have already recognized. Vivid perception, imagination and representation describe a communication process through which we link the meaningful structures in the environmental or imaginary situation, like the words of a sentence, into meaningful action contexts. To do this, we have to move our eyes constantly, as we only see about 2° of the field of vision consciously, while about 99.9% of the information is perceived unconsciously or read between the lines. The peripheral field of vision controls our attention and determines our feelings and emotions as well as our interests and assessments.

Even if we already know today that we only understand a fraction of the processes in the brain, we still have the task of taking the available material from the neurosciences into account when forming theories. We can only promote the learning process methodically if we know the biological prerequisites for it.

Publication “The formation of spatial-visual competence”

Der Beitrag Brain and perception erschien zuerst auf Farbpsychologie.