Principles Of Visual Perception Research Articles

User Preferences on the Application of Wooden Wall Coverings in Interiors Made of Oak Veneer Residue

Guided by the principles of visual perception and basic design, this research was conducted to examine users’ preferences on how they perceive natural unique wood phenomena of Pedunculate Slavonian Oak veneers (Quercus robur L.) such as color changes, wood rays, sapwood, and knots, which in the production and technical sense represent defects and wood residue, but could be used in the design of sustainable and ecological wall decorations. The goal was to detect samples with the most positive attributes and to observe their connection with activities and functional space if they are viewed as wall coverings in the interior. The results confirm that discoloration and wood rays are considered the most harmonious (“prettiest”) decors. Discoloration is associated with quiet cognitive or medium-intensity activity that can be used in libraries, hotel rooms, and classrooms. Wood rays are connected with very quiet activity in ambulance waiting rooms or religious buildings and museums. Knot decors are considered the most natural and are recommended for interiors with very or medium-intensive activities such as restaurants, cafes, and hotel receptions, but attention should be paid to the way the wall decors are arranged on the walls. Sapwood–hardwood decors are the subject of further research and improvement concerning the relationship between the dark and light parts of the veneer. In conclusion, the results provide useful guidelines for manufacturers with a large veneer residue in production and who want to design decorative wall panels, as well as for designers and architects designing interiors for a specific purpose and function where certain user behavior and psychological stimulation are desired.

Can basic design be the base of urban planning education?: A case-oriented quantitative measurement model

The study of design is considered as a scientific activity; however, the integration of urbanism with design thought has remained limited, which can easily be observed in the contemporary urban areas, especially in the developing countries. Thus, increasing design thinking ability and the integration of spatial planning should be a priori within urban planning and design education, and thus be practiced preventing the emergence of chaotic urban spaces. The widespread view is that basic design education increases the planning and design skills of students; therefore, it is offered during the first stage of planning education. Within the scope of the basic design courses, students experience using and transferring the formatting tools such as line, stain, texture, color, volume, light-shadow, abstraction, and perspective effectively. They learn design principles such as suitability, unity, sovereignty, contrast balance, repetition, direction, measure, range, value, motion, and hierarchy. Gestalt visual perception principles adopted by the Bauhaus school of design are often applied in basic design education. The process is completed by providing technical drawing lessons on principles and abstraction parameters. Teaching is a planned process, and objectives are determined through the cognitive-affective and psychomotor learning areas known as Bloom’s Taxonomy of Learning Domains. So, is the current education paradigm accurate and measurable? Is it possible to utilize it to improve planning and design education? For this purpose, this study researches the contribution of basic design learning outcomes to the urban planning studios and the relationship between achievement levels of students in relevant courses through knowledge and attitude tests. The research model is a case study, based on the relational analysis of quantitative data, which quantitatively propounded that the relationship between two different teaching processes is linear and positive.

Designing Aesthetic and Visual Perception Textbook in Photography: Integrating Theory and Practice for College Students

The textbook for the course of Aesthetics and Visual Perception in Photography was developed to address the lack of available reference books for the subject at the Politeknik Negeri Media Kreatif. The objective of this textbook is to provide comprehensive and structured teaching materials on aesthetics and visual perception in photography, enabling students to understand and apply these principles in their photographic works. The research methodology involved literature study, data collection, textbook design, testing, and evaluation. The creation of this textbook benefits students by facilitating their learning and comprehension of the subject matter, while also offering a comprehensive and structured reference on aesthetics and visual perception in photography. The research was conducted over a period of approximately nine weeks. It is expected that this textbook will serve as a solution to the lack of reference materials and assist students in understanding and applying the principles of aesthetics and visual perception in photography. The results of this research indicate that aesthetics and visual perception play a vital role in creating captivating and meaningful photographs for the viewers. The integration of theory and practice within the textbook aids students in developing their photography skills more effectively.
 Keywords: textbook, photography, aesthetics, visual perception

Visual Perception Principles in Constellation Creation.

Many cultures share common constellations and common narratives about the stars in the night sky. Previous research has shown that this overlap in asterisms, minimal star groupings inside constellations, is clearly present across 27 distinct culture groups and can be explained in part by properties of individual stars (brightness) and properties of pairs of stars (proximity) (Kemp, Hamacher, Little, & Cropper, 2022). The same work, however, found no evidence that properties of triples (angle) and quadruples (good continuation) predicted constellation formation. We developed a behavioral experiment to explore how individuals form constellations under conditions that reduce cultural learning. We found that participants independently selected and connected similar stars, and that their responses were predicted by two properties of triples (angle and even spacing) in addition to the properties of brightness and proximity supported by previous work. Our findings lend further evidence to the theory that commonality of constellations across cultures is not a result of shared human history but rather stems from shared human nature.

Analysis of the application of optical illusion in the field of art and design

Abstract This study ventures into the captivating realm of visual illusion art, where the enigmatic principles of visual perception are harnessed to enhance artistic creativity. Through mathematical modeling of the visual perception process, we uncover the essence of visual illusions and their profound impact on art and design. Leveraging cellular neural networks, this research merges dynamic processes with the WC visual illusion and color space models to craft a novel visual illusion neural network model adept at reproducing the nuances of visual illusion art. Our investigation into the application of visual illusions in art design reveals a notable affinity for the “transparent” quality, achieving a 57% certainty level and embodying the art’s ethereal nature. Furthermore, we identify significant correlations between interactive effects, color coordination, design structure, visual impact, and the overarching quality of art designs, with correlation indices of 0.508, 0.487, 0.535, and 0.602, respectively. This work highlights visual illusion’s pivotal role in propelling the field of art and design forward, thereby enriching the tapestry of human experience.

Generation of non-functional architectonic spatial forms with geometric transformations

In the academic progression of architectural attitude and design competence it is important to give particular attention to the exploration and creative experimentation with spatial forms. In addition to the analysis of historical and contemporary architectural examples, significant role is given to modelling exercises which guide design students in a tentative way to the planar and spatial operation of compositional principles. During this process, a series of personal experiences develop the recognition and confident application of planar and spatial compositional tools and the ability to create tension or to maintain balance. These tools - albeit exerting their effects during subjective experience - are largely based on physical laws and operate according to the principles of visual (possibly tactile) perception, so their understanding and conscious application is a rational goal. In the analysis of architectural compositions, the relationship, location, size, juxtaposition or overlapping of forms - in other words their geometric relationship - is perhaps the primary factor, nevertheless the effects of materials, colours and textures cannot be ignored either. One of the distinctive characteristics of architectonic models is their ability to highlight certain pre-defined properties; in the case of forms made of homogenous materials for example, an enhanced attention to geometry, plasticity, and the impact of light and shadow. The focus of this paper is form-evolution generated through geometric transformations; a process during which a simple plane figure and subsequently a body is transformed (sliced, dragged, distorted, added or subtracted, etc.) resulting in architectonic compositions featuring architectural proportions and characteristics. These form-experiments are intentionally aimed at the generation of "non-functional" spaces, so the goal of the creation is not actual buildings, but rather the composition of pure spatial and volumetric relations in a philosophical sense, which, nevertheless, can provide the conceptual basis (in terms of form, mass, and spatial structure) for subsequent architectural outputs.

A Case Study on Formative Elements and Visual Perception Theory Expressed in Virtual Art Contents

With the development of media, the form of expression has rapidly grown into the field of virtual art. The trend of development and generalization of virtual space art through virtual space and virtual reality is forming interest in virtual art using computer graphics, such as information and material, space and time, reality and virtuality, and active participation. The purpose of this paper is to analyze the image contents expressed in virtual art based on the Gestalt theory of form, and to study the aesthetic characteristics of the formative elements and principles of visual perception expressed in virtual art contents. As a result, the aesthetic expression of formative elements and principles of visual perception can feel illusion or virtual expression. In addition, it was confirmed that virtual art was applied with free spatiality that is not limited by space. It was found that the Gestalt theory could play a role in identifying and understanding the meaning expressed in virtual art.

Interactive design method of English online learning interface based on visual perception

Due to the problems of long interaction time, poor data recovery effect and poor satisfaction of the existing interactive design methods of English online learning interface, an interactive design method of English online learning interface based on visual perception is proposed. Based on the principle of visual perception, this paper optimises the interface structure, enhances the data interactive processing ability of this method by using the interactive interface engine technology, improves the data recovery rate by combining with the data weight design, and realises the interactive design requirements of English online learning interface. Experimental results show the interaction time of the design method is generally less than 1.5 s; the data recovery rate is generally more than 80%; and the teaching satisfaction is more than 90%, which shows that the method has good interaction, high information recovery rate, high satisfaction and strong practicability in the practical application process.

Consistently Inconsistent Perceptual Illusions in Nonhuman Primates: The Importance of Individual Differences.

Perceptual illusions, and especially visual illusions, are of great interest not only to scientists, but to all people who experience them. From a scientific perspective, illusory visual experiences are informative about the nature of visual processes and the translation of sensory experiences to perceptual information that can then be used to guide behavior. It has been widely reported that some nonhuman species share these illusory experiences with humans. However, it is consistently the case that not all members of a species experience illusions in the same way. In fact, individual differences in susceptibility may be more typical than universal experiences of any given illusion. Focusing on research with the same nonhuman primates who were given a variety of perceptual illusion tasks, this "consistent inconsistency" is clearly evident. Additionally, this can even be true in assessments of human illusory experiences. Individual differences in susceptibility offer an important avenue for better understanding idiosyncratic aspects of visual perception, and the goal of isolating any possible universal principles of visual perception (in primates and beyond) should address these individual differences.

Harmonious Textual Layout Generation Over Natural Images via Deep Aesthetics Learning

Automatic typography is important because it helps designers avoid highly repetitive tasks and amateur users achieve high-quality textual layout designs. However, there are often many parameters and complicated aesthetic rules that need to be adjusted in automatic typography work. In this paper, we propose an efficient deep aesthetics learning approach to generate harmonious textual layout over natural images, which can be decomposed into two stages, saliency-aware text region proposal and aesthetics-based textual layout selection. Our method incorporates both semantic features and visual perception principles. First, we propose a semantic visual saliency detection network combined with a text region proposal algorithm to generate candidate text anchors with various positions and sizes. Second, a discriminative deep aesthetics scoring model is developed to assess the aesthetic quality of the candidate textual layouts. We build a new Textual Layout Aesthetics dataset with dense annotations of each image and design a reasonable evaluation metric to compare our method with richer baselines. The results demonstrate that our method can generate harmonious textual layouts in various actual scenarios with better performance.

Семиотические функции образно-ассоциативных форм дизайна в городской среде

The paper specifies the communicative and semiotic properties of associative design objects and the possibilities of their application in open urban spaces. It also presents figurative and associative forms of design as visual reference points and signs and considers basic principles of visual perception of information, embedded in the objects of sign communication. The study reveals the initial set of criteria and techniques that provide an effective and functional process of designing figurative forms of design — signs of visual communication and examines the main criteria and rules for the design of associative figurative design forms and the semiotic features of the perception of information in these forms. The paper analyzes the process of transformation of natural forms into a figurative design form. The author, basing on the associative design method, traces different degrees of conventionality of the design image (from recognizable, stylized to abstract), emphasizing the need to maintain a clear functional conditionality of the design form. The study proves that associative modeling obeys the same objective harmonization laws that determine the development of each design form. The principle of the associative-shaped form clearly reveals the artistic idea, has a stronger emotional and aesthetic impact on the viewer than a simple utilitarian form, and allows for the possibility of various semiotic interpretations. The researcher suggests that an association as a connection between two representations (when one, having appeared, evokes in the mind another or several associative rows), is visually more acceptable to the appearance of semiotic signs in an urban environment. Any associative-shaped form as a semiotic sign can be interpreted in different ways and metaphorical flexibility may be achieved. However, the design forms must exhibit visibility and clarity of understanding for all social groups of the population. The author considers this topic in the context of design issues of creating a visually comfortable subject-spatial urban environment for a favorable human life. Natural imitations introduced into the fabric of urban development are capable of minimizing the influence of technogenic urban visual environment, saturating them with additional meanings, and compensating for the insufficiency of natural forms.

Research on Weld Defect Identification with X-ray Based on Convolutional Neural Network

In the process of X-ray weld defect detection, a deep learning network structure based on the principle of simulated visual perception is constructed. The size and number of layers of convolutional neural network template, and the influence of different activation functions, are analyzed with an improved method proposed, which may avoid the characteristic steps for the extraction of defect images, and can be used to directly determine the presence of any defect. Experiments on 200 images show that the proposed method for SDR images has an identification rate of more than 98%, which is better than other methods, and has highly practically in pipeline defect detection.

Achieving the Visual Perception and Gestalt Psychology in Sultan Hassan Mosque Building

The gestalt principles are perception and what is visually communicated by objects. These principles describe the visual language within which we work. Understanding how a designer realizes things visually will help designers communicate better. Many designers use Gestalt principles to have a structure visual stimulus, so as to create interfaces that are easy for users to understand. Because the understanding of visual perception is a critical item in any designer’s toolkit. Islamic heritage buildings also contain many architectural values, especially the Sultan Hassan Mosque in Cairo. Through this paper, we will verify the use of gestalt principles of visual perception in the building design. Because the psychological organization of the design, achieves the understanding and awareness of the current relationships between the elements, depending on the extent of regularity, accuracy, and consistency of the design elements. This makes us recognize the esthetic values of Sultan Hassan’s building and mosque. The visual delight we get from architecture begins with how we perceive it. So, in order to understand how visual delight arises, we must first understand how we perceive and interpret visual stimuli. Especially since the principles of gestalt confirm that the human brain tends to make tricks and illusions. Therefore, we found the mosque designer had exploited this fact during the design process, to exclude any possibility of the resulting misunderstanding. The designer achieved the psychological preparation of the visitor by using some principles of visual perception of the Gestalt theory, such as growth, continuity, and hierarchy.

Особенности визуального восприятия информационно-коммуникационных объектов

This article discusses the basic principles of visual perception of information with objects of sign communication. The features of visual communication, the features of the perception of information, the main criteria and rules for the design of signs of visual communication are highlighted. The article discusses the role of cognitive ergonomics and psychology of perception, as well as the initial set of criteria and techniques that provides an effective and functional process for designing visual communication signs. The main groups of users of children's art schools are considered and options for the design of visual communication for a children's art school are proposed.

The Principles of Visual Perception Within The Context of Visual Illusions

In the transformation of the low-level, ambiguous retinal signal into a vivid and meaningful phenomenological experience, certain aspects are as essential as the input coming from the external environment. The semantic knowledge stored in memory, figure-background segmentation, grouping principles, and current mood and expectations of the person are equally important. Visual illusions, which might be described as the discrepancy between the objective properties of the external world and their subjective representations, is a common feature of the visual perception that provides meaningful insights with regards to the structure and function of the complex information processor in the brain. In this context, visual illusions are the end results of the optimization strategies that allow the effective use of limited neuronal and metabolic resources, and thus reflect the natural working principles while coping with these limitations, rather than restrictions inflicted upon the system. In this review, we present a compilation of illusions and summarize the key principles of visual perception on the basis of these visual phenomena. In the final section, we also discuss a number of recent topics within the context of Bayesian inference and psychopathology, illusions and alpha brain oscillations and time perception to describe the current directions in the field. Keywords Visual perception, visual illusions, visual system

Phenomenon of Spatial Representations in Music: Psychophysiological Aspects

Summary: The article is devoted to exploration of the functions of visual thinking in the formation of spatial representations in human knowledge, which help to recognize the meanings of musical compositions. The purpose of this work is to study “visual” ways of spatial perception of musiсal works, in which eye-mindedness of the composer is implemented in specific operation by expressive means of music. Methods of hermeneutics, comparativistics, musicological analysis and interdisciplinary approach are used to realize this purpose. Principles of visual perception – simplicity and influence of geometric form on emotional properties of the object in music – are regarded as an example to show how they act. Principle of simplicity is evident in the organization of the form of “second plan” which unites multiple-part structures in music, tonal development, according to the type of “the highest order functions”. Influence of geometric form on emotional properties of the object in music is defined by the correlation of statics and dynamics in the development of a musical work; in semantics of geometrical figures “visualizing” in the graphic of melodic line or form of texture, which is supported by musical examples. We draw the conclusions that the existence of these principles in music helps to structure and store information about music in simple mental models, which are easy to recall. Interaction of means of musical expression gradually forms an in the consciousness of the listener, which contains certain spatial and visual characteristics, helping to recognize its real prototype, its artistic sense and meanings. Finally, the ontology of the category of space itself causes availability of a number of universal laws that ensure the convergence of different types of art in the act of artistic creativity and perception. It can be stated that the process of musical perception is dependent on the proceeding and results of different kinds of thinking, which are based on the already available knowledge about the reality and specifics of its reflection. Important components in perception are the nature of the organization of thought processes – attention, imagination, memory; the pace at which thought operations are performed – analysis, synthesis, comparison, generalization, concretization and abstraction, and a variety of other internal human properties and qualities. Understanding these patterns is possible not only based on the study of human psychophysiology, but also, on the contrary, through the study of the principles of the impact of art on man in an interdisciplinary aspect.

컨템포러리 무용에 나타난 왜곡된 신체에 관한 시지각 원리 연구

컨템포러리 무용에 나타난 왜곡된 신체에 관한 시지각 원리 연구

Organic molecular crystal-based photosynaptic devices for an artificial visual-perception system

Recreating the visual-perception properties using organic electronic devices is highly desired for visual prosthetics and artificial intelligence. Although the integration of organic light-sensing components with synaptic devices can realize the recognition and memory functions for perceived images, complicated problems in device integration for practical applications are generally encountered. Here we demonstrate a new type of organic photosynaptic device based on organic molecular crystals, which can provide optical-sensing and synaptic functions together in one device by means of a unique photon-induced charge transfer effect. This device successfully emulates the working principles of human visual perception in terms of short-term plasticity, long-term potentiation, and spike-timing-dependent plasticity. Moreover, a proof-of-concept artificial image-perception system is demonstrated by integrating the photosynapses on a flexible substrate. The new devices using organic semiconductors may open up innovative application areas, such as artificially intelligent electronic and perception systems, and facilitate the integration of such devices into next-generation flexible and stretchable electronics.

A Multilevel Visual Feature-Based Approach for Measuring the Spatial Information in Remote Sensing Images

The information measurement of remote sensing images plays an important role in various geographical applications. As people are the ultimate interpreter of remote sensing images, there is a need to integrate principles of human visual perception into remote sensing image information measurement. Therefore, this article proposes an approach to measure the spatial information of remote sensing images on the basis of visual features. The information measurement model suitable for remote sensing images is first developed according to the Shannon–Hartley theorem. Then, the multidimensional remote sensing image information measurement strategy is proposed based on the multilevel visual features. On this basis, the remote sensing image information can be quantified by incorporating the low-level visual features. Experiments demonstrate that the proposed method can capture the information content of remote sensing images that is highly consistent with human visual cognition. Through comparisons with other methods, it is demonstrated that the proposed method has advantages in accurately revealing the attention rule for the visual information of remote sensing images.

A Study on the Correlation between Psychological Principles of Visual Perception and Design: Analysis of Types and Purposes of Optical Illusions regarding Design Elements

(연구배경 및 목적) 인간중심의 패러다임은 디자인의 궁극적인 대상인 인간에 초점을 두어 사용자의 개성과 선택을 존중하고 인간적인 특성들을 디자인에 반영하는 경향을 일컫는다. 이 패러다임은 현대의 경제체제가 서비스 중심 경제로 전환되기 시작하면서 본격적으로 발전하게 되었는데 서비스 중심 경제에서는 소비자에게 고품격의 체험을 제공해 심리적 부가가치를 높이는 것이 기업 이익창출의 핵심요소이기 때문이다. 그러므로 디자인에서도 사용자의 감성적, 심리적 특성을 반영하는 것에 대한 관심이 지속적으로 높아지고 있으며 다양한 인간중심 디자인의 접근법들이 나타나게 되었다. 본고는 인간중심 디자인과 관련하여 인간의 시지각 심리 특성과 디자인의 연관성에 대해 연구하였는데 특히 착시(Optical Illusion)에 초점을 맞추어 연구를 진행하였다. 이를 통해 디자이너들이 착시 현상을 디자인에 적극적으로 적용할 수 있도록 관련 정보들을 체계적으로 분석하여 제공하고자 한다. (연구방법) 본고는 문헌조사와 사례분석을 중심으로 진행되었다. 또한 다수의 사례들을 본고 연구결과에 대한 실증 자료로 제시하였다. 사례분석은 정성분석으로 실시하지만 객관성의 필요 수준을 확보하기 위해 분석틀을 만들고 이에 의거해 실시하였다. 착시의 유형을 분석할 때 디자인에서의 활용도를 높일 수 있도록 디자인 요소 별로 연관 착시현상들을 분류하였는데 요소들 중에서 선행논문에서 연구한 색채 착시는 본고의 연구대상에서 제외하였다. (결과) 디자인에서 적용되고 있는 착시의 유형으로는 선과 관련된 착시 6가지(긴 길이 직선의 휘어짐 착시, 헤링 착시, 수평-수직 착시, 뮐러-라이어 착시, 죌너 착시, 프레이저 나선 착시), 형과 관련된 착시 5가지(에빙하우스 착시, 폰조 착시, 달 착시, 카페 벽 착시, 포겐도르프 착시), 질감과 관련된 착시 2가지(시각적 질감, 프롱프 뢰이유), 공간감과 관련된 착시 1가지(원근법에 의한 착시), 동세감과 관련된 착시 3가지(시각적 진동의 착시, 가현운동 착시, 유도운동 착시)가 분석되었다. 디자인에서 착시를 적용하는 목적으로는 시지각 오류의 보정, 지각적 강화에 의한 기능성 향상, 인지적 강화에 의한 커뮤니케이션 향상, 시각적 재미제공의 4가지를 제시했다. (결론) 착시는 과거에는 왜곡된 시각 현상이라는 인식 때문에 이를 없애는 소극적인 방식으로 디자인에 적용되어 왔다. 그러나 디자이너들이 더 다양한 착시의 존재와 이들의 활용 가치를 인식하면서 착시를 디자인의 핵심 요소로 이용하는 사례가 늘고 있다. 이처럼 디자이너들이 착시에 대한 다양한 지식을 충분히 갖춘다면 이를 적극적으로 활용하여 디자인의 표현 방법을 확장시키는데 기여할 수 있을 것이다.