rimlighetsprincipen

Rimlighetsprincipen, also known as the principle of peripheral vision, is a concept in the fields of psychology, philosophy, and art appreciation. It was first introduced by the Danish philosopher and psychologist Vilhelm Bjerknes, but became well-known through the writings of Danish art historian and critic Carl Jove Andersen.

The principle suggests that people tend to perceive and focus on the periphery of an image or a work of art rather than its center. According to this theory, our perception of an image or artwork reduces to what we see at the edges or at the periphery, and the quality of an image is therefore judged by how the periphery is rendered.

Rimlighetsprincipen was initially proposed to explain the significance of the periphery in landscape painting, where it is believed that the quality of the painting is determined primarily by how the artist has depicted the periphery. The theory argues that the center of the painting is less important than the way the colors and forms are integrated in the peripheral areas.

The principle has also been applied to other art forms, such as literature and architecture. Art critics have used this theory to analyze the importance of the peripheral elements in the works of various artists and architects. The theory has both been used to explain the apparent lack of interest in the center or the details of an artwork and to generate artistic compositions or literary styles that focus deliberately on the outer aspects of an image or story. Generally, rimlighetsprincipen is thought to be a didactical method to promote a dispersed and cooperative position within the preceding blue monotherapy, but its practical consequences, manifest in urban planning, have contributed very little new standing research.