Art and perceptual expertise
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Transcript of Art and perceptual expertise
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ART AND PERCEPTUAL EXPERTISE
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Structure• Applying principles of perception to art-making• Why study representational drawing?• How to quantify drawing ability• Research connecting drawing ability and various
perceptual phenomena
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Structure• Applying principles of perception to art-making• Why study representational drawing?• How to quantify drawing ability• Research connecting drawing ability and various
perceptual phenomena
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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
biases
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Gibson – Direct Perception• Sensation is perception• Phenomena like optic flow give unambiguous evidence
about the visual qualities of the environment
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Mark Tansey ‘The Innocent Eye Test’
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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 Gombrich
Art-making is solving the inverse problem of vision
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Gregory – Generative Perception• Perception as hypothesis testing• Unconscious inferences from
sensory data (Von Helmholtz)• Formation of incorrect hypotheses
lead to errors in perception (and artistic effects!)
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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
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Art as caricature
Average Stimulus Caricature
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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 2½
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Abstraction
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Structure• Applying principles of perception to art-making• Why study representational drawing?• How to quantify drawing ability• Research connecting drawing ability and various
perceptual phenomena
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Why study drawing?
Drawing represents a complex but tractable process
Output comparable with original stimulus
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Structure• Applying principles of perception to art-making• Why study representational drawing?• How to quantify drawing ability• Research connecting drawing ability and various
perceptual phenomena
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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)
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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 shape
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Structure• Applying principles of perception to art-making• Why study representational drawing?• How to quantify drawing ability• Research connecting drawing ability and various
perceptual phenomena
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Drawing & Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
Ostrofsky et al (2011)
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Drawing & Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing & Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing & Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing and Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing and Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing and Perception
Visual Selection
Visual Integration
Perceptual Constancies
Local Processing
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Drawing and Attention Shifting
Attention shifting. Local-global levels of processing
GL switch
LG switch
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A link to visual flexibility?
Ambiguity and attention shifts
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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
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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