Search results for "Percept"
showing 10 items of 3839 documents
THE INFLUENCE OF TEXTURE SYMMETRY IN MARKER POINTING: EXPERIMENTING WITH HUMANS AND ALGORITHMS
2011
Symmetry plays a fundamental role in aiding the visual system, to organize its environmental stimuli and to detect visual patterns of natural and artificial objects. Various kinds of symmetry exist, and we will discuss how internal symmetry due to textures influences the choice of direction in visual tasks. Two experiments are presented: the first, with human subjects, deals with the effect of textures on preferences for a pointing direction. The second emulates the performances obtained in the first through the use of an algorithm based on a physic metaphor. Results from both experiments are shown and comment.
Experimental Phenomenology in Contemporary pPerception Sciences
2008
A formal role is deemed for experimental phenomenology to be played for a common interdisciplinary framework in perception science to obtain. An systematic account of experimental results on the phenomenology of visual perception and their formalisation in terms of manifold relations is provided. A model for interdisciplinary reserach is suggested with phenomenological explanationa self-closedness traded off against inter-domain research.
Eidetics
2020
The term eidetics denotes the domain of eidetic imagery and its study. The standard phenomenon of eidetic imagery consists in seeing a stimulus that is no longer present, when the experimenter is allowed to infer from subjects’ reports or experimental protocols that “seeing” is different from remembering or experiencing an after-image. After a prolonged period from mid-1930 to about 1960 in which the interest in this phenomenon had died out, research was resumed on the grounds of findings which seemed to point at the ability of extracting information from no longer present stimuli, which showed to be different from sensory and recognition memory. The functional role of eidetic imagery in co…
Line
2020
In the Elements of Geometry, Euclid defines the line as “a length without breadth,” an element without width and depth. The concept of line occurs in propositions, both theorems and proofs, given the postulates that it is possible to draw a straight line between any two points and to extend continuously any line. In Euclid’s Optics, lines are the subject of theorems. Rubin studied the perceptual conditions that could have given an intuitive contribution to the definition of geometrical objects that like in Euclid’s geometry do not occur in experience, yet have a relation with visual constructions. Pictures exploit markings endowed with perceptual linearity and continuity which realize lines…
Perception / percept
2020
The term perception denotes the capacity of grasping something that to the common sense belongs to external world, which is the stable and persistent collection of things that are the natural and man-made furniture of the environment. Perception denotes also the capacity of sensing something, like warmth or pain, that is the effect of an external or internal cause localized on or inside one’s own body. Therefore, perception has subjective and objective factors as constituents of its conditions of satisfaction. The activity of perception is describable in terms of the percept, namely the objective constituent of its conditions of satisfaction
QUALI FENOMENI PER L’ESTETICA EMPIRICA?
2020
Empirical Aesthetics profits from the research in Cognitive Neurosciences and the target article collects multiple evidence on the neurobiological basis of art and aesthetic experience in order to submit that psychological models give a new definition of the field of Psychology of Arts, if they integrate this empirical evidence with the perceptual, emotional and cognitive capacities, which are assumed to give rise to art and aesthetic experience. The opinion article raises questions about the variety of phenomena in the field, the common methodology to experimental research on cognition and aesthetics, the manifold perceptual attributes which support art and aesthetic cognition, the potenti…
Visualization/Visibility
2020
The term visualization is employed to refer to the capacity of making visible properties, relations, objects and state of affairs which either are no longer presented through perception or depends upon concepts and theoretical definitions, which regard domains that lie outside the scope of perception. In the strict sense, visualization is the kind of experience akin to perception, which is enabled by the structure and the function of imagery. From a functional standpoint, then, the capacity of visualization relies on a not arbitrary mapping between visual-spatial representations and what they stand for. In this broader sense, it is connected with perception and rule-based qualitative reason…
Arte, psicologia e realismo. Saggi in onore di Lucia Pizzo Russo
2011
This volume provides essays by psychologists and philosophers who deal with the insight that led L. Pizzo Russo's lifelong research work, that is understanding human mind amounts to a study of perception and thought at the boundary between psychology and philosophy. A research that is realized without disciplinary prejudices should be thus able to recover the logic of perception and the perceptual nature of thought. At the same time, the phenomenological objectitivity of values and artifacts must be accounted for.
Grouping
2020
Grouping refers to the function of unification and segregation due to factors which account for the fact that the perception of the environment is endowed with order, structures and filled with objects and events among which relations of connection or disjointness hold. Gestalt psychologists provided a wealth of experimental evidence for the specification of the factors and their phenomenological nature, that is their independence from non-perceptual determinants. grouping factors can be discovered through well-defined transformations applied on elements and specified recursively as functional connections. They figure as preferential rules of perceptual grammar.
Picture
2020
Pictures are a presentation whose structure is decomposable into a surface, an arrangement of markings, the appearance of something in front of, before or behind the surface, the reference to a scene of the real or a possible world, whose aspects and concrete or abstract states of affairs are displayed by the appearance. Pictures are a kind of markings, namely patterns perceived on a surface, which do not yet convey information about it. Markings depend on surfaces. No marking exists without a surface, while the opposite is true. There is a variety of markings according to the technique and the tools chosen to produce them. Surfaces serve as a medium either as a support or as that which aff…