Experiments on sensory-tonic field theory of perception: II. Effect of supported and unsupported tilt of the body on the visual perception of verticality.

1951 ◽  
Vol 42 (5) ◽  
pp. 346-350 ◽  
Author(s):  
Heinz Werner ◽  
Seymour Wapner ◽  
Kenneth A. Chandler
Keyword(s):  
Field Theory ◽  
Visual Perception ◽  
The Body ◽  
Perception Of Verticality

Unilateral Auditory Stimulation and the Visual Perception of Verticality: One More Time

1980 ◽  
Vol 50 (1) ◽  
pp. 171-182
Author(s):  
H. D. Day ◽  
L. F. Shelly
Keyword(s):  
Field Theory ◽  
Visual Perception ◽  
Auditory Stimulation ◽  
Vertical Position ◽  
Starting Position ◽  
Perception Of Verticality

The effects of varying conditions of unilateral auditory stimulation on the visual perception of verticality were examined in two experiments using 18 and 42 subjects, respectively. Significant effects of auditory stimulation and hand used to make the verticality adjustments were not found. With only one exception in Exp. 2, the starting position of the rod also had no influence on the ability of the subjects to adjust a rod to its vertical position. The literature pertaining to sensory-tonic field theory of perception was critically reviewed.

Dynamic Embodiment and the Graphic Illness Narrative Genre

2019 ◽  
pp. 47-80
Author(s):  
Elisabeth El Refaie
Keyword(s):  
Visual Perception ◽  
Illness Narratives ◽  
The Body ◽  
Illness Narrative ◽  
Abstract Concepts ◽  
Social And Emotional ◽  
Words And Images

This chapter argues that some genres are more centrally concerned with the body than others, and that each genre exploits the affordances of its modes and media in unique ways. Thus, graphic illness narratives are characterized not only by their focus on the physical, social, and emotional impacts of disease, but also by their innovative use of the tools and materials of the comics medium, including inherent tensions between words and images, and between sequence and layout. These features impose particular constraints and offer unique opportunities to artists, influencing their choice of metaphors and the shape these metaphors take. For example, in many such works the expected direction of metaphorical transfer from sensorimotor experience to more abstract concepts is reversed, as the diseased body and the nature of visual perception are foregrounded in the artist’s consciousness.

scholarly journals The aesthetics of verticality: A gravitational contribution to aesthetic preference

2018 ◽  
Vol 71 (12) ◽  
pp. 2655-2664 ◽  
Author(s):  
Maria Gallagher ◽  
Elisa Raffaella Ferrè
Keyword(s):  
The Body ◽  
Body Posture ◽  
Upright Posture ◽  
Aesthetic Preference ◽  
Environmental Objects ◽  
The Arts ◽  
Perception Of Verticality ◽  
Gravitational Contribution ◽  
Gravitational Vertical

Verticality plays a fundamental role in the arts, portraying concepts such as power, grandeur, or even morality; however, it is unclear whether people have an aesthetic preference for vertical stimuli. The perception of verticality occurs by integrating vestibular-gravitational input with proprioceptive signals about body posture. Thus, these signals may influence the preference for verticality. Here, we show that people have a genuine aesthetic preference for stimuli aligned with the vertical, and this preference depends on the position of the body relative to the gravitational direction. Observers rated the attractiveness of lines that varied in inclination. Perfectly vertical lines were judged to be more attractive than those inclined clockwise or anticlockwise only when participants held an upright posture. Critically, this preference was not present when their body was tilted away from the gravitational vertical. Our results showed that gravitational signals make a contribution to the perception of attractiveness of environmental objects.

scholarly journals Silent Bodies: Japanese taciturnity and image thinking

2017 ◽  
Vol 12 (1) ◽  
pp. 113
Author(s):  
Ana Došen
Keyword(s):  
Visual Perception ◽  
Japanese Society ◽  
The Body ◽  
Theoretical Perspectives ◽  
Theatrical Performance ◽  
Japanese Art ◽  
The World ◽  
Art Forms ◽  
Communicative Act ◽  
East And West

A nonverbal transmission and an implicit way of communication are highly encouraged in Japanese society. The reason for this “silence prerogative” is often found in historical facts of lengthy feudal era or in ancient philosophies and religions such as Buddhism and Confucianism and their various concepts which privilege taciturn way of communication. Moreover, the unspoken comprehension is often complemented by the attitude which equates truthfulness with silence. This paper explores the silence as a communicative act in the domain of Japanese art, where the body takes over the place of the language. In traditional Japanese theatrical performance, such as noh, words are often inadequate to convey emotion and therefore the aesthetics of emptiness, understatement and abstraction is transcended by the masks with "nonmoving lips". Drawing on theoretical perspectives from both East and West, I argue that the silent bodies operate as deliberate and integral determinants of Japanese non-silent art forms – especially in cinema and theatre. In the Eastern thought, visual perception is fundamental in cognition of the world, whereas auditory discernment is secondary to "image-thinking" (Yuasa). Accustomed to taciturnity, Japanese audience effectively corresponds to the performance and "completes" it in silence.

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