Eye Movements and Pictorial Space Perception: Studies of paintings from Francis Bacon and Piero della Francesca

2009 ◽  
Vol 9 (5) ◽  
pp. 103-121 ◽  
Author(s):  
Zoï Kapoula ◽  
Qing Yang ◽  
Marine Vernet ◽  
Maria-Pia Bucci
Keyword(s):  
Eye Movements ◽  
Space Perception ◽  
Francis Bacon ◽  
Pictorial Space ◽  
Piero Della Francesca

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.

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.

scholarly journals The Monocular Duke of Urbino

2016 ◽  
Vol 8s1 ◽  
pp. OED.S40918
Author(s):  
Stephen G. Schwartz ◽  
Christopher T. Leffer ◽  
Pamela S. Chavis ◽  
Faraaz Khan ◽  
Dennis Bermudez ◽  
...  
Keyword(s):  
Eye Movements ◽  
Visual Field ◽  
Visual Function ◽  
Italian Renaissance ◽  
Nasal Surgery ◽  
Piero Della Francesca ◽  
Historical Figure ◽  
Eye Motion ◽  
The Subject

Federico da Montefeltro (1422–1482), the Duke of Urbino, was a well-known historical figure during the Italian Renaissance. He is the subject of a famous painting by Piero della Francesca (1416–1492), which displays the Duke from the left and highlights his oddly shaped nose. The Duke is known to have lost his right eye due to an injury sustained during a jousting tournament, which is why the painting portrays him from the left. Some historians teach that the Duke subsequently underwent nasal surgery to remove tissue from the bridge of his nose in order to expand his visual field in an attempt to compensate for the lost eye. In theory, removal of a piece of the nose may have expanded the nasal visual field, especially the “eye motion visual field” that encompasses eye movements. In addition, removing part of the nose may have reduced some of the effects of ocular parallax. Finally, shifting of the visual egocenter may have occurred, although this seems likely unrelated to the proposed nasal surgery. Whether or not the Duke actually underwent the surgery cannot be proven, but it seems unlikely that this would have substantially improved his visual function.

Descriptions of Visual Phenomena from Aristotle to Wheatstone

Perception ◽  
1996 ◽  
Vol 25 (10) ◽  
pp. 1137-1175 ◽  
Author(s):  
Nicholas J Wade
Keyword(s):  
Eye Movements ◽  
Motion Perception ◽  
Binocular Vision ◽  
Space Perception ◽  
Visual Phenomena ◽  
History Of ◽  
Natural Philosophers

A history of the observational era of vision is presented through selected descriptions of phenomena by natural philosophers from Aristotle to Wheatstone. The descriptions are listed under the headings of optics, colour, subjective visual phenomena, motion perception, eye movements, binocular vision, and space perception.

scholarly journals Eye movements in auditory space perception

1975 ◽  
Vol 17 (3) ◽  
pp. 241-245 ◽  
Author(s):  
Bill Jones ◽  
Boris Kabanoff
Keyword(s):  
Eye Movements ◽  
Space Perception ◽  
Auditory Space

scholarly journals Pictorial space perception and viewing distance

2004 ◽  
Vol 4 (8) ◽  
pp. 18-18
Author(s):  
A. R. Girshick ◽  
D. Vishwanath ◽  
M. S. Banks
Keyword(s):  
Space Perception ◽  
Viewing Distance ◽  
Pictorial Space

Perception of Space in Piero della Francesca's Annunciation: An Eye-Movement and Art-Historical Study

Leonardo ◽  
2010 ◽  
Vol 43 (2) ◽  
pp. 153-158 ◽  
Author(s):  
Zoï Kapoula ◽  
Maria-Pia Bucci ◽  
Qing Yang ◽  
Francesca Bacci
Keyword(s):  
Eye Movements ◽  
Eye Movement ◽  
Historical Study ◽  
High Quality ◽  
Computer Screen ◽  
Depth Cues ◽  
Piero Della Francesca ◽  
High Quality Image ◽  
Quality Image

Although Renaissance artworks provide valuable information about the development of artistic depth cues, eye-movement studies of these works are rather scarce. This study examines how naïve viewers explore and perceive space and perspective in the Perugia Annunciation by Piero della Francesca (1467–1469). Seven participants viewed a high-quality image of the painting on a computer screen, while their eye movements were recorded with a video-oculographic device. Following recording, five subjects verbally described the painting, and all seven drew the painting from memory. Based on the sequence of ocular fixations, the authors conclude that the painting stimulates inquisitive spatial eye exploration, resulting in assimilation of complex spatial architectural details, even by naïve observers.

Sign in / Sign up

Export Citation Format

Share Document