The Perception of Depicted Motion

Dobrez, Livio

doi:10.3390/arts2040383

Cited by 10 publications

(7 citation statements)

References 88 publications

(79 reference statements)

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“…Second, the utilization of static images implying motion showing either the starting or end point of the corresponding dynamic event has been previously debated (e.g., Acik et al., 2014; Jellema & Perrett, 2003; Urgesi, Moro, Candidi, & Aglioti, 2006), with no firm conclusions. In our study, given the nature of the movement selected (i.e., dance step), it was thought to be depicted better at the peak of the action, which happens to be the end posture (see also Dobrez, 2013, on the role of asymmetry in still images depicting movement). Our choice is in accordance with other studies that have also utilized the end posture and have reported an effect on timing estimates (e.g., Bueno & Nather, 2012; Nather & Bueno, 2011, 2012a; Nather et al., 2011).…”

Section: Discussionmentioning

confidence: 91%

“…This is a tangible example of an image implying motion. The use of a single image to suggest movement has been of great interest for both artists (e.g., Dobrez, 2013; Nather & Bueno, 2012c; Reason, 2004) and scientists (e.g., Cutting, 2002; Nather & Bueno, 2008). The seminal memory tests of Freyd and coworkers (Freyd, 1983; Freyd & Finke, 1984) have illustrated the dynamic nature of mentally extrapolating (i.e., “representational momentum”) an action that is implied in frozen-action photographs (see Freyd, 1987; Thornton & Hubbard, 2002, for reviews).…”

Section: Introductionmentioning

confidence: 99%

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Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

2019

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It has been argued that movement can be implied by static cues of images depicting an instance of a dynamic event. Instances of implied motion have been investigated as a special type of stimulus with common processing mechanisms to those of real motion. Timing studies have reported a lengthening of the perceived time for moving as opposed to static stimuli and for stimuli of higher as compared to lower amounts of implied motion. However, the actual comparison of real versus implied motion on timing has never been investigated. In the present study, we compared directly the effect of two hypothetically analogous ballet steps with different amounts of movement and static instances of the dynamic peak of these events in a reproduction task. The analysis revealed an overestimation and lower response variability for real as compared to implied motion stimuli. These findings replicate and extend the apparent duration lengthening for moving as compared to static stimulation, even for static images containing implied motion, questioning whether or not the previously reported correspondence between real and implied motion transfers in the timing domain. This lack of correspondence was further supported by the finding that the amount of movement presented affected only displays of real motion.

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Section: Discussionmentioning

confidence: 91%

Section: Introductionmentioning

confidence: 99%

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

2019

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“…), but from the use of different techniques playing with lines, shapes, and directions on the bi-dimensional surface [ 46 ]. For example, patterns with acute angles presented as diagonals or wedge shapes in oblique position [ 47 ], shapes with curvy and wavy lines [ 48 ], multiple and successive stroboscopic images superimposed on a flat surface [ 49 ], might convey the sense of movement.…”

Section: Introductionmentioning

confidence: 99%

Pupil responses to implied motion in figurative and abstract paintings

et al. 2021

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Motion can be perceived in static images, such as photos and figurative paintings, representing realistic subjects in motion, with or without directional information (e.g., motion blur or speed lines). Motion impression can be achieved even in non-realistic static images such as motion illusions and abstract paintings. It has been shown that visual motion processing affects the diameter of the pupil, responding differently to real, illusory, and implied motion in photographs (IM). It has been suggested that these different effects might be due to top-down modulations from different cortical areas underlying their processing. It is worthwhile to investigate pupillary response to figurative paintings, since they require an even higher level of interpretation than photos representing the same kind of subjects, given the complexity of cognitive processes involved in the aesthetic experience. Also, pupil responses to abstract paintings allows to study the effect of IM perception in representations devoid of real-life motion cues. We measured pupil responses to IM in figurative and abstract artworks depicting static and dynamic scenes, as rated by a large group of individuals not participating in the following experiment. Since the pupillary response is modulated by the subjective image interpretation, a motion rating test has been used to correct individual pupil data according to whether participants actually perceived the presence of motion in the paintings. Pupil responses to movies showing figurative and abstract subjects, and to motion illusions were also measured, to compare real and illusory motion with painted IM. Movies, both figurative and abstract, elicit the largest pupillary dilation of all static stimuli, whereas motion illusions cause the smallest pupil size, as previously shown. Interestingly, pupil responses to IM depend on the paintings’ style. Figurative paintings depicting moving subjects cause more dilation than those representing static figures, and pupil size increases with the strength of IM, as already found with realistic photos. The opposite effect is obtained with abstract artworks. Abstract paintings depicting motion produce less dilation than those depicting stillness. In any case, these results reflect the individual subjective perception of dynamism, as the very same paintings can induce opposite responses in observer which interpreted it as static or dynamic. Overall, our data show that pupil size depends on high-level interpretation of motion in paintings, even when they do not represent real-world scenes. Our findings further suggest that the pupil is modulated by multiple top-down cortical mechanisms, involving the processing of motion, attention, memory, imagination, and other cognitive functions necessary for enjoying a complete aesthetic experience.

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“…A static picture can be seen as a 'freeze frame' of an action, with implied motion (Goldstein, 2007;Dobrez, 2013). In the Gericault 1821 painting The Epsom Derby (Fig.…”

Section: Introductionmentioning

confidence: 99%

“…Realistic or not, of interest, Arnheim (1974), a keen Gestalt theorist, argued that the dynamic characteristics (Dobrez, 2013;Hubbard and Ruppel, 2017) perceived in a picture derive from the lines, shapes and directions on the bidimensional surface rather than from familiarity with real postures. For example, limbs with acute angles, presented as diagonals, might suggest motion.…”

Section: Introductionmentioning

confidence: 99%

Gericault’s Fake-Gallop Horse Judged Speedy but Unrealistic

Mastandrea

Kennedy

2018

Art Percept.

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In two experiments, we tested pictures of horse gaits—alt (standing), walk, trot, gallop, and a fake gallop, a pose shown in a well-known Gericault painting. The pose was portrayed frequently in the nineteenth century, its features hotly debated. Fake gallop has legs extended fore and rear, close to parallel to the ground. Experiment 1 sampled real artworks depicting horses and Experiment 2 used silhouettes of horses. In both, reports of amount of movement increased from alt to fake gallop. In Experiment 1 similar results were obtained from novices and equestrians (‘experts’ familiar with horses). The extreme leg extension in fake gallop may suggest high speed, as Arnheim suggested. However, true gallop includes legs curled close together under the body—a ‘running pony’ pose—so both extremes of extension may suggest high speed. In Experiment 2, novices judged fake gallop unrealistic despite giving high movement scores. We suggest its depiction may be metaphoric, meaning a deliberately false item has relevant features of a referent. For the artworks, the amount of movement reported correlated positively but quite modestly with aesthetic appreciation, but for the silhouettes, the correlation was reversed. We suggest expression can be positive for many horse poses.

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The Perception of Depicted Motion

Cited by 10 publications

References 88 publications

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

Pupil responses to implied motion in figurative and abstract paintings

Gericault’s Fake-Gallop Horse Judged Speedy but Unrealistic

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