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
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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