Art and Perception

Hochberg, Julian

doi:10.1016/b978-0-12-161910-7.50016-3

Cited by 36 publications

(12 citation statements)

References 111 publications

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“…Kubovy (1986) called it the robustness of perspective. Slanted pictures have since received attention from Gibson (1947), Perkins (1973), Hochberg (1978a), Farber and Rosinski (1978), , Rosinski, Mulholland, Degelman, and Farber (1980), and Lumsden (1980), but none of these authors followed the strategy that 1 present here. La Gournerie's paradox occurs in two forms: The first concerns viewing pictures either nearer or farther than the composition point but along the line extended between that point and (usually) the center of the picture; the second, and by far the more interesting and complex, concerns viewing pictures from the side at any distance.…”

Section: Call It Lamentioning

confidence: 99%

Rigidity in cinema seen from the front row, side aisle.

Cutting¹

1987

Journal of Experimental Psychology: Human Perception and Perfor

107

108

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Pictures and cinema seen at a slant present the optics of virtual objects that are distorted and inconsistent with their real counterparts. In particular, it should not be possible for moving objects on slanted film and television screens to be seen as rigid, at least according to rules of linear perspective. Previous approaches to this problem have suggested that some process (perhaps cognitive) rectifies the optics of objects in slanted pictures to derive true shape and preserve shape constancy. The means for this rectification is usually thought to be based on recovery of true screen slant. In three experiments I show that this account is unnecessary and insufficient to explain the perception of rotating, rectangular objects in slanted cinema. I present data in favor of an alternate view, one in which the information is sufficient for perceivers to determine rigidity in an object on slanted screens, at least for parallel projections. In the human visual system, local measurements of objects are apparently made according to protective geometry, in those measurements, small amounts of certain distortions in projection are tolerated. Stimuli that appear nonrigid are ones that violate certain local principles, known as Perkins's laws, of projections of rectangular solids.Eye position is not fixed when one looks at a photograph or painting. A puzzle arises from this fact: Linear perspective, the means of representation in photos and in many works of art, is mathematically correct for only one viewpoint. I call this point the composition point; it is the point from which a photograph was taken (the perpendicular distance from the center of the photograph derived by multiplying the focal length of the lens by the degree of enlargement) or the point from which a linear perspective picture was composed according to the rules of GiambattistaAlberti(e.g., White, 1957).Fortunately, picture viewing is not limited to the composition point. In fact, a large number of positions in front of a picture will serve as reasonable viewpoints, will preserve object identity, and will allow layout within the picture to appear relatively normal. Preservation of phenomenal identity and phenomenal shape of objects in slanted pictures is fortunate, for without them the utility of pictures would be vanishingly small. Nevertheless, both are unpredicted by any theoretical application of linear perspective, and the second of these-the relatively unnoticed distortions in slanted pictures and cinema-is the focus of this article.The puzzle of unnoticed distortions in slanted images was first addressed by La Gournerie in 1859 (Pirenne, 1970);' hence

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Section: Call It Lamentioning

confidence: 99%

Rigidity in cinema seen from the front row, side aisle.

Cutting¹

1987

Journal of Experimental Psychology: Human Perception and Perfor

107

108

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show abstract

“…Even though the black line in the center of Figure 2b demarcates two regions that are identical in luminance, the outline itself constitutes a luminance edge. Therefore, it should be detected early in visual processing, as luminance edges separating regions of different lightness are (Hochberg, 1978;Marr & Hildreth, 1980), and should, therefore, be a suitable surrogate for a luminance edge (Halverson, 1992;Hochberg, 1972;Kennedy & Silver, 1974). Hence, if the critical property of the edges used in previous work is that they were detected early in processing (and not some other property that distinguishes them from outline drawings), then a similar pattern ofresults should be obtained with outline drawings.…”

Section: Methodsmentioning

confidence: 99%

Object recognition contributions to figure-ground organization: Operations on outlines and subjective contours

Peterson

Gibson

1994

Perception & Psychophysics

143

114

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“…What I will be proposing is really an attempt to extend the constructionist position in perception, as expounded by such theorists as Neisser (1976), Hochberg (1978) and others, to human communication. In the constructionist view, perception is a process that develops over time, and the outcome of this process is more akin to a hypothesis than to an image or percept.…”

mentioning

confidence: 98%

The Role of the Listener: Addressee Influences on Message Formulation

Krauss

1987

Journal of Language and Social Psychology

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Psycholinguistic models tend to depict speech production as a unidirectional process in which speakers create messages for generic addressees. Missing from such characterisations is an analysis of the process by which addressees influence the form and content of messages created for them. Addressees affect message form and content in at least two ways: (1) Their personal characteristics help define the common ground they share with the speaker and, hence, the knowledge the speaker can draw upon in formulating messages; (2) In conversation, their on-line responses serve to inform the speaker about changes in their knowledge state and, hence, about the communicative effectiveness of the messages transmitted. A series of experiments illustrating these processes is described.

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Art and Perception

Cited by 36 publications

References 111 publications

Rigidity in cinema seen from the front row, side aisle.

Rigidity in cinema seen from the front row, side aisle.

Object recognition contributions to figure-ground organization: Operations on outlines and subjective contours

The Role of the Listener: Addressee Influences on Message Formulation

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