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Slide1

Art and perceptual expertiseSlide2

Structure

Applying principles of perception to art-making

Why study representational drawing?

How to quantify drawing ability

Research connecting drawing ability and various perceptual phenomenaSlide3

Structure

Applying principles of perception to art-making

Why study representational drawing?

How to quantify drawing ability

Research connecting drawing ability and various perceptual phenomenaSlide4

John Ruskin: The Innocent Eye

The whole technical power of painting depends on our recovery of what may be called the

innocence of the eye

; that is to say, of a sort of childish perception of these flat stains of colour, merely as such, without consciousness of what they might

signify

John Ruskin

Art-making is returning to a

‘sensory core’Seeing through schematic biasesSlide5

Gibson – Direct Perception

Sensation is perception

Phenomena like optic flow give unambiguous evidence about the visual qualities of the environmentSlide6

Mark

Tansey

‘The Innocent Eye Test’Slide7

Ernst Gombrich

:

Schemata

The artists’ dilemma:

That

of conjuring up a convincing image despite the fact that not one individual shade corresponds to what we call

'reality’

Ernst GombrichArt-making is solving the inverse problem of visionSlide8

Gregory – Generative Perception

Perception as hypothesis testing

U

nconscious inferences from sensory data

(Von Helmholtz)

Formation of incorrect hypotheses lead to errors in perception (and artistic effects!)Slide9

See through or seeing with schemata?

Artistic

schemata - attention and selection of features sufficient for depiction in a particular medium

The sets of cues necessary for adequate depiction are culturally specific and not fixed Slide10

Art as caricature

Average Stimulus

CaricatureSlide11

Rudolf

Arnheim

: Evolution of representation

Children perceive the universal more readily than the particular

In the field of art – and this is probably true also for the psychology of thinking – highly abstract forms appear at the most primitive stages

Rudolf

Arnheim

Leo, Aged 2

½ Slide12

Abstraction Slide13

Structure

Applying principles of perception to art-making

Why study representational drawing

?

How to quantify drawing ability

Research connecting drawing ability and various perceptual phenomenaSlide14

Why study drawing?

Drawing represents a complex but tractable

process

Output comparable with original stimulusSlide15

Structure

Applying principles of perception to art-making

Why study representational drawing?

How to quantify drawing ability

Research connecting drawing ability and various perceptual phenomenaSlide16

How do we measure drawing ability?

‘Because there is no universal computer algorithm for comparing the accuracy of renderings with that being rendered, one must resort to using critics to judge the accuracy of a rendering.’(Cohen, 2005)Slide17

How do we measure drawing ability?

Shape Analysis

Determined set of coordinates on an image

Measures shape accuracy but as yet no systematic way of measuring distortion or effects other than shapeSlide18

Structure

Applying principles of perception to art-making

Why study representational drawing?

How to quantify drawing ability

Research connecting drawing ability and various perceptual phenomenaSlide19

Drawing & Perception

Visual Selection

Visual Integration

Perceptual

Constancies

Local

Processing

Ostrofsky

et al (2011)Slide20

Drawing & Perception

Visual Selection

Visual

Integration

Perceptual

Constancies

Local

ProcessingSlide21

Drawing & Perception

Visual Selection

Visual Integration

Perceptual Constancies

Local

ProcessingSlide22

Drawing & Perception

Visual

Selection

Visual Integration

Perceptual

Constancies

Local

ProcessingSlide23

Drawing and Perception

Visual Selection

Visual Integration

Perceptual Constancies

Local

ProcessingSlide24

Drawing and Perception

Visual Selection

Visual Integration

Perceptual Constancies

Local

ProcessingSlide25

Drawing and Perception

Visual Selection

Visual Integration

Perceptual Constancies

Local

ProcessingSlide26

Drawing and Attention Shifting

Attention shifting. Local-global levels of processing

GL switch

LG switchSlide27

A link to visual flexibility?

Ambiguity and attention shiftsSlide28

Art-making is embodied

Perception does not function in isolation

Motor imagery used in patient DF in lieu of visual form recognition

Anticipatory motor planning could be used by expert artists

Changes in holistic processing may be related to sensorimotor experience Slide29

Conclusions

Drawing and art-making a process of both seeing through and see with biases in perception

Drawing ability linked to enhancements in perceptual processing, namely: visual selection, visual integration, perceptual constancies, local processing and attention switching

Integrate this into an embodied framework – how does it relate to perceptual/sensorimotor expertise

Chart the development of perceptual and conceptual skills throughout the lifetime of the artist to understand the role of innate ability and training

By: pamella-moone
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Type: Public

Art and perceptual expertise - Description


Structure Applying principles of perception to artmaking Why study representational drawing How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena ID: 278158 Download Presentation

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