Perception of Perspective Pictorial Space from Different Viewing Points

Leonardo ◽  
1977 ◽  
Vol 10 (4) ◽  
pp. 283 ◽  
Author(s):  
Rudolf Arnheim
Keyword(s):  
Pictorial Space

Pictorial space perception, body sway and eye movements

2013 ◽  
Author(s):  
Joanna Ganczarek ◽  
Vezio Ruggieri ◽  
Marta Olivetti Belardinelli ◽  
Daniele Nardi
Keyword(s):  
Eye Movements ◽  
Space Perception ◽  
Body Sway ◽  
Pictorial Space

Geometric Transformations of Pictured Space

Perception ◽  
1978 ◽  
Vol 7 (3) ◽  
pp. 269-282 ◽  
Author(s):  
James Farber ◽  
Richard R Rosinski
Keyword(s):  
Geometric Analysis ◽  
Space Perception ◽  
Unique Point ◽  
Geometric Transformations ◽  
Pictorial Space ◽  
Pictorial Perception ◽  
Correct Point

In general, a picture can represent a specific environment or scene only when the picture is seen from a unique viewing point. The determination of this unique point and of the distortions that occur when the picture is viewed from other points is crucial to all aspects of pictorial perception. To clarify the effects of the point of observation on pictorial space, the present paper discusses how the correct point may be calculated, provides a geometric analysis of the effects of altering the viewing point, and briefly reviews the effects of such alterations on space perception.

scholarly journals Husserl and Dufrenne on the temporalization of the pictorial space

2018 ◽  
Vol 51 (2) ◽  
pp. 301-323
Author(s):  
Javier Enrique Carreño Cobos
Keyword(s):  
Pictorial Space

scholarly journals La paleta de pintor como herramienta en la formación pictórica = The painter’s palette as a tool in the pictorial formation

2020 ◽  
pp. 136
Author(s):  
Mª Esperanza Macarena Ruiz Gómez
Keyword(s):  
Fine Arts ◽  
Teaching Quality ◽  
Teaching Material ◽  
Undergraduate Program ◽  
Pictorial Space

En este artículo se desarrollan los resultados obtenidos en un Proyecto de Innovación y Mejora de la Calidad Docente, concedido por la Universidad Complutense de Madrid, con código PIMCD nº 41 titulado “De la paleta al soporte pictórico. Lecciones esenciales en el aprendizaje de la gramática de la Pintura/:yo objetivo principal fue generar material docente complementario como apoyo bibliográfico para diversas asignaturas de carácter obligatorio de pintura, impartidas en 2º de Grado en Bellas Artes, concretamente Procesos de la Pintura y Conformación del Espacio Pictórico, así como generar documentación inédita tanto para alumnos como amantes de la pintura, la cual colabore a que se pueda conocer al pintor de manera más íntima, pudiendo acercarnos un poco más a su trabajo, conociendo por ejemplo qué tipo de paleta utiliza, gamas de colores que maneja, tipos de pinceles, soportes e imprimaciones preferidos.AbstractThis article elaborates on the outcomes of an “Innovation and Improvement of Teaching Quality” project, granted by the Complutense University of Madrid.The PIMCD Nº41 project, titled “From the palette to the pictorial support. Essential lessons in learning the grammar of Painting”, has as its main goal generating and facilitating complementary teaching material in the form of bibliographic support for various compulsory subjects in the Painting track of the second course of the Fine Arts undergraduate program – named “Paint Processes” [Procesos de la Pintura] and “Formation of the Pictorial Space” [Conformación del Espacio Pictórico].In addition, the project aims at generating original documentation accessible by both alumni and art lovers, facilitating a better understanding of the painter’s motivations and closer connection to their art by solving questions such as the why of using a specific palette, range of colors, brush type, supports or primers.

Real space and represented space: Cross-cultural perspectives

1989 ◽  
Vol 12 (1) ◽  
pp. 51-74 ◽  
Author(s):  
J. B. Deregowski
Keyword(s):  
Space Perception ◽  
Real Space ◽  
Cross Cultural ◽  
Picture Perception ◽  
Cultural Groups ◽  
Pictorial Space ◽  
Cultural Perspectives ◽  
Cross Cultural Differences ◽  
Representational Space ◽  
Perceptual Illusions

AbstractThis paper examines the contribution of cross-cultural studies to our understanding of the perception and representation of space. A cross-cultural survey of the basic difficulties in understanding pictures—ranging from the failure to recognise a picture as a representation to the inability to recognise the object represented in the picture— indicates that similar difficulties occur in pictorial and nonpictorial cultrues. The experimental work on pictorial space derives from two distinct traditions: the study of picture perception in “remote” populations and the study of the perceptual illusions. A comprison of the findings on pictorial space perception with those on real space perceptual illusions. A comparison of findings on pictorial space perception with those on real space perception and perceptual constancy suggersts that cross-cultural differences in the perception of both real and representational space involve two different types of skills: those related exclusively to either real space or representational space, and those related to both. Different cultural groups use different skills to perform the same perceptual tasks.

Movements of the Mental Eye in Pictorial Space

2005 ◽  
Author(s):  
Jan J. Koenderink
Keyword(s):  
Physical Space ◽  
Physical Object ◽  
Current Understanding ◽  
Pictorial Space ◽  
Psychophysical Data ◽  
Pictorial Perception ◽  
Mental Object

When an observer is faced with a straight photograph, the observer can either look at the image or look into the photograph. This manner of observing photographs presents a difference that is crucial. In the former case, the observer is aware of the photograph as a physical object in a physical space while in the latter, the observer is aware of the pictorial object in a pictorial space. This chapter focuses on the current understanding of pictorial perception and the structure of pictorial space. Pictorial space is different from physical space in that it does not exist outside of the observer's awareness. It is a thread of consciousness and a purely mental object. In contrast, the photograph as a physical object is a mere planar sheet composed of pigments in a certain simultaneous order. The concepts of pictorial object and scene is not limited to the earlier existence of a physical space that figured casually in the present existence of the photograph. The theory of pictorial space is largely derived from psychophysical data. The measurement of it depends on the idiosyncratic movements of the mental eye. It is purely an ‘intentional entity’ that makes its elusive to physiological methods and susceptible to misconception.

Faktura

2018 ◽  
Author(s):  
Isabel Wünsche
Keyword(s):  
Dimensional Space ◽  
Three Dimensional ◽  
Work Of Art ◽  
Pictorial Space ◽  
Avant Garde ◽  
Artistic Production ◽  
Important Quality ◽  
Visual Demonstration ◽  
Viktor Shklovsky

Faktura, literally "texture," is related to the Russian avant-garde’s preoccupation with the fundamental principles of the creative process. The term, applied to a work of art, addresses the way in which materials are used, the processes, the surrounding environment, and the artistic devices; it characterizes the textural structure of a work of art and the manner by which it was constructed. As a creative principle, it rejects a pictorial space based on perspective and the illusion of three-dimensional space projected onto a flat canvas. The Russian formalist critic Viktor Shklovsky considered faktura to be the single most important quality of an object of art as a constructed object: it was the evidence of its having been made. He applied the term to poetic writing as well as the visual arts; in both cases faktura offered a visual demonstration of the properties inherent in a material or construction: "The whole effort of a poet and a painter is aimed first and foremost at creating a continuous and thoroughly palpable object, an object with a faktura." The term faktura remained a fluid concept during the 1910s, its essential qualities being further defined and developed by members of the avant-garde from 1913 well into the mid-1920s. While faktura, as initially used by members of the early Russian avant-garde, was characterized by the use of natural materials and a holistic–metaphysical approach to art, it was later adapted by the Constructivists to conform to a strictly materialist ideology and utilitarian orientation in artistic production.

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