Theories Of Visual Perception Research Articles

Education and visual neuroscience: A mini-review.

Neuroscience, especially visual neuroscience, is a burgeoning field that has greatly shaped the format and efficacy of education. Moreover, findings from visual neuroscience are an ongoing source of great progress in pedagogy. In this mini-review, I review existing evidence and areas of active research to describe the fundamental questions and general applications for visual neuroscience as it applies to education. First, I categorize the research questions and future directions for the role of visual neuroscience in education. Second, I juxtapose opposing views on the roles of neuroscience in education and reveal the "neuromyths" propagated under the guise of educational neuroscience. Third, I summarize the policies and practices applied in different countries and for different age ranges. Fourth, I address and discuss the merits of visual neuroscience in art education and of visual perception theories (e.g., those concerned with perceptual organization with respect to space and time) in reading education. I consider how vision-deprived students could benefit from current knowledge of brain plasticity and visual rehabilitation methods involving compensation from other sensory systems. I also consider the potential educational value of instructional methods based on statistical learning in the visual domain. Finally, I outline the accepted translational framework for applying findings from educational neuroscience to pedagogical theory.

Active Cues Collection and Integration for Building Extraction With High-Resolution Color Remote Sensing Imagery

Building extraction from high-resolution color remote sensing imagery (HRCRSI) is important in city planning, building reconstruction, and other applications. However, the performance of the state-of-the-art methods is often passively dependent on the accuracy and reliability of the initial edges/regions acquired by general edge/region extraction methods. But the performance of these general methods is always sensitive to unavoidable noise and interferences, especially for the HRCRSI imagery. Furthermore, structural information of the target (e.g., buildings herein) is not fully utilized in these general methods, which is undoubtedly a useful clue to reducing the effects of noise and interference. Therefore, undesired results are inevitable for building extraction methods conducted with a passive or semiactive manner. In this paper, in order to alleviate this problem to a certain extent, we carried out the building extraction task in a completely active manner: 1) under the guidance of the visual perception theory, cues of building edges and regions are actively collected by considering building priors related to main direction and color; and 2) based on knowledge about building shape widely accepted in the literature, cues of the obtained building edges and regions are actively integrated for final building extraction. Experimental results on three benchmark datasets, including aerial and high-resolution optical satellite images, illustrate that the proposed active method can achieve the expected building extraction results.

Dreaming of a stable world: vision and action in sleep

Our eyes, bodies, and perspectives are constantly shifting as we observe the world. Despite this, we are very good at distinguishing between self-caused visual changes and changes in the environment: the world appears mostly stable despite our visual field moving around. This, it seems, also occurs when we are dreaming. As we visually investigate the dream environment, we track moving objects with our dream eyes, examine objects, and shift focus. These movements, research suggests, are reflected in the rapid movements or saccades of our sleeping eyes. Do we really see the dream world in the same way that we see the real world? If we do, how could dreaming, usually assumed to be mind-generated hallucinations, replicate such an experience? This problem would be deflated if dreams are not hallucinations at all, but rather imagination, illusion or simply unrealistic. I argue that imagination and illusion views do not satisfactorily explain away the problem of vision and action in sleep. The imagination model is not a complete description of dreaming that is consistent with empirical research, and it is unlikely that the visual dream world is an illusion. Given that the dreaming visual experience is most likely active, hallucinatory, and at times a realistic world simulation, there are important implications for our understanding of visual perception and its relationship to movement. Evidence suggests that our dream eyes investigate the dream world as our waking eyes investigate the waking world. If changes to the unconsciously generated dream environment are perceived as external and unintentional while dream body movements are perceived as self-generated and intentional, current theory of visual perception may have to be expanded to account for how the dreaming mind generates a stable world in which we track and visually explore mind-generated objects.

Stimulus complexity shapes response correlations in primary visual cortex

Spike count correlations (SCCs) are ubiquitous in sensory cortices, are characterized by rich structure, and arise from structured internal dynamics. However, most theories of visual perception treat contributions of neurons to the representation of stimuli independently and focus on mean responses. Here, we argue that, in a functional model of visual perception, featuring probabilistic inference over a hierarchy of features, inferences about high-level features modulate inferences about low-level features ultimately introducing structured internal dynamics and patterns in SCCs. Specifically, high-level inferences for complex stimuli establish the local context in which neurons in the primary visual cortex (V1) interpret stimuli. Since the local context differentially affects multiple neurons, this conjecture predicts specific modulations in the fine structure of SCCs as stimulus identity and, more importantly, stimulus complexity varies. We designed experiments with natural and synthetic stimuli to measure the fine structure of SCCs in V1 of awake behaving macaques and assessed their dependence on stimulus identity and stimulus statistics. We show that the fine structure of SCCs is specific to the identity of natural stimuli and changes in SCCs are independent of changes in response mean. Critically, we demonstrate that stimulus specificity of SCCs in V1 can be directly manipulated by altering the amount of high-order structure in synthetic stimuli. Finally, we show that simple phenomenological models of V1 activity cannot account for the observed SCC patterns and conclude that the stimulus dependence of SCCs is a natural consequence of structured internal dynamics in a hierarchical probabilistic model of natural images.

A Discussion of James J. Gibson’s Theory of Visual Perception in the Context of Embodied Cognition

Bu makalede, James J. Gibson'ın görsel algı kuramının bedenlenmiş biliş kavramı bağlamında bir tartışması sunulmaktadır. Gibson'ın görsel algı kuramı, ilk olarak, Clark (348) tarafından öne sürülen basit bedenleme ve radikal bedenlenme ayrımı çerçevesinde tartışılmıştır. Daha sonra, Gibson'ın kuramı, Sharpiro tarafından önerilen kavramlaştırma, değiştirme ve oluşturma kategorileri bağlamında tartışılmıştır (Embodied Cognition: New… 4). Ardından Gibson'ın kuramı, bilişsel gelişime dinamik yaklaşım (Thelen ve diğerleri 1), algıya duyusal motor yaklaşım (O'Regan ve Noë, “A sensory motor account…” 1; O'Regan ve Noë, “What is it like…” 1) ve bilişe enaktif yaklaşım (Varela ve diğerleri 1) gibi bedenlenmeyi savunan diğer çalışmalar ile karşılaştırılmış; Gibson'ın kuramı ve bu çalışmalar arasındaki benzerlikler ve farklılıklar vurgulanmıştır. Makalenin sonunda bedenlenmenin Gibson'ın kuramındaki anlamına yönelik bir özet sunulmuştur.

Understanding the impact of perceived visual aesthetics on user evaluations: An emotional perspective

Studies aimed at predicting user judgments have been dominated by the usability and efficiency perspective. An important assumption of this perspective is that higher order judgments such as quality perception and download intention are mainly cognitive processes. Increasingly, research has shown that this perspective is incapable of fully explaining user judgments. Emerging research posits that emotions and emotional subcomponents that arise from aesthetic-based design factors are at least equally important for understanding how users form higher order judgments such as quality perception and attractiveness. In this article, light is shed on the role of emotions in affecting these judgments. This is performed for the particular case of mobile apps. Specifically, the relationship between various aesthetic subdimensions (classical and expressive) and emotional subcomponents (valence and arousal) is explored. First, an explanatory model from theories of aesthetics, emotions, and visual perception is derived. Second, a laboratory experiment is conducted, and it provides empirical evidence for the relationships between visual aesthetics, emotions, and higher order evaluations such as users' quality perceptions and the intentions to download. Specifically, significant relationships were found between aesthetic subdimensions and valence, whereas arousal was partially significant. Selective emotional subdimensions also significantly impacted quality perceptions, attractiveness, and intention to download. Finally, implications for theory and practice are discussed.

Bilingual representation of distance in visual-verbal sign systems: A case study of Guo Xi’s Early Spring

AbstractThe purely cognitive semantic approach to verbal distance representation has recently been enriched from the perspective of visual perception theory. Focusing on visual pragmatic effects, the present paper will use distance cues as a set of analytical tools and adopt the cognitive-functional model proposed elsewhere to further explore the issue of visual-verbal coherence through Guo Xi’sEarly Springand the bilingual museum catalogue entries attached to it, in physical exhibitions or virtual museums, with a particular view to explaining how a linguistics- or stylistics-based analysis endorses the interpretation of a specific artwork on discursive and cultural levels.

The composition of visual texture design on surface for color vision deficiency (CVD)

Color serves as a nonlinguistic code that gives us instant information about the world around us. Based on color vision and visual perception theories, this study aimed to create a set of texture composition principles that not only supports a person with Color Vision Deficiency (CVD) to distinguish colors, but also maintains the visibility and aesthetic of the target. The study defined the texture background as red RGB(255, 0, 0). After the operational definition, a focus on the independent variable of texture color, elements size, and distance was possible. Second, the constant stimuli method was employed to measure the visible texture compositions by CVDs and Normal Color Vision (NCV) people. Finally, NCVs were asked to subjectively evaluate the influence level. Depending on the purpose and position of the application, designers can decide which compositions benefit viewers. For being detected immediately by CVDs, the proper parameters on a red background are the texture elements with RGB(234, 0, 21) color, dimension 2.5′, and clearance 2.5'. For website designs or commercial advertisements, designers can choose a smaller dimension 1.67′ and clearance 5′, so CVDs can easily read the information without a lack of aesthetics for NCVs. The parameters might be a little different if the image is displayed on paper or through LED signals. For this reason, future studies could take material and environment into consideration, and conclude a series of texture composition principles to support Color Vision Deficiency.

Influence of Gender on Perception of Landscape: A Study of Viharamahadevi Park in Colombo

This study investigates the influence of gender on perception of landscape, with reference to the Viharamahadevi Park in Colombo. The exiting literature suggests that there is a difference in perception of landscapes in reference to the gender of the user. Perception theories with emphases on visual perception aspect were identified through a literature survey. The identified visual perception theories were further analyzed in order to develop concepts and indicators. In spite of the transformation of ‘green to grey’ of most of the spaces in Colombo, Viharamahadevi park has preserved its landscape environment. Its location in the central part of Colombo has contributed to attract many different types of city dwellers and visitors. The presence of different visual landscape characters such as complexity, visual scale, stewardship, coherence and image ability at the Viharamahadevi Park lead to the selection of it the case study. A questionnaire was used to collect data from the general public (15 males and 15 females)who patronized the park regularly, and second year undergraduate students (15 male and 15 female students) following the degree of landscape architecture at Moratuwa University. The data was analyzed under the likerts scale.The analysis of data indicates that there is no clear difference of preference in landscapes between the female and male gender with the public users. The male gender of public who patronize the park has intention to interact with it, such as spend their time with nature or for relaxation. However, majority of the females of public use the park unintentionally due to social requirements. There is a significant difference in order of perception according to the gender among the second year undergraduate students. The information processing theory of visual perception explains the difference of visual landscape perception among landscape students and the general public. Landscape students have a comparatively better understanding on landscape than the general public.The knowledge supports them to have a clear visual perception, which coupled with gender orientations make a strong difference with male and female students. But due to the lack of higher level of ability to appreciate and understand the landscapes, the public do not have clear sense or a perception and thus lacks clear gender differences. Keywords: Landscape, Visual perception, Gender

루돌프 아른하임의 시지각(視知覺) 이론에 따른 심벌마크의 형태적 단순성에 관한 연구 - 금융기관 심벌마크를 중심으로 -

루돌프 아른하임의 시지각(視知覺) 이론에 따른 심벌마크의 형태적 단순성에 관한 연구 - 금융기관 심벌마크를 중심으로 -

루돌프 아른하임의 시지각(視知覺) 이론에 따른 심벌마크의 형태적 단순성에 관한 연구 - 금융기관 심벌마크를 중심으로 -

루돌프 아른하임의 시지각(視知覺) 이론에 따른 심벌마크의 형태적 단순성에 관한 연구 - 금융기관 심벌마크를 중심으로 -

ANALISIS VISUAL GAME ARENA OF VALOR SEBAGAI DASAR PENGEMBANGAN KONSEP VISUAL GAME

In game design, in addition to having a powerful and interesting gameplay concept, creator should pay attention to the visual aspect embodied in the visual design of the game. Visual aspect is so important to attract user to play it, especially in Multiplayer Online Battle Arena (MOBA) genre game. With the support of visual design, users can easily understand and follow the gameplay faster and and surely they can understand the ability of each character with ease. This research tries to study the visual design and characters design of Arena Of Valor game. With visual perception theory and manga matrix theory to gain an understanding of the visual approach and creator considerations in the game visual design. Hopefully this research can be used as the basis reference for further MOBA game development.

Adaptive Optimization of Visual Sensitivity.

Sensory systems adapt to environmental change. It has been argued that adaptation should have the effect of optimizing sensitivity to the new environment. Here we consider a framework in which this premise is made concrete using an economic normative theory of visual motion perception. In this framework, visual systems adapt to the environment by reallocating their limited neural resources. The allocation is optimal when uncertainties about different aspects of stimulation are balanced. This theory makes predictions about visual sensitivity as a function of environmental statistics. Adaptive optimization of the visual system should be manifested as a change in sensitivity for an observer and for the underlying motion-sensitive neurons. We review evidence supporting these predictions and examine effects of adaptation on the neuronal representation of visual motion.

Micro-calibration of space and motion by photoreceptors synchronized in parallel with cortical oscillations: A unified theory of visual perception

A fundamental function of the visual system is detecting motion, yet visual perception is poorly understood. Current research has determined that the retina and ganglion cells elicit responses for motion detection; however, the underlying mechanism for this is incompletely understood. Previously we proposed that retinogeniculo-cortical oscillations and photoreceptors work in parallel to process vision. Here we propose that motion could also be processed within the retina, and not in the brain as current theory suggests. In this paper, we discuss: 1) internal neural space formation; 2) primary, secondary, and tertiary roles of vision; 3) gamma as the secondary role; and 4) synchronization and coherence. Movement within the external field is instantly detected by primary processing within the space formed by the retina, providing a unified view of the world from an internal point of view. Our new theory begins to answer questions about: 1) perception of space, erect images, and motion, 2) purpose of lateral inhibition, 3) speed of visual perception, and 4) how peripheral color vision occurs without a large population of cones located peripherally in the retina. We explain that strong oscillatory activity influences on brain activity and is necessary for: 1) visual processing, and 2) formation of the internal visuospatial area necessary for visual consciousness, which could allow rods to receive precise visual and visuospatial information, while retinal waves could link the lateral geniculate body with the cortex to form a neural space formed by membrane potential-based oscillations and photoreceptors. We propose that vision is tripartite, with three components that allow a person to make sense of the world, terming them “primary, secondary, and tertiary roles” of vision. Finally, we propose that Gamma waves that are higher in strength and volume allow communication among the retina, thalamus, and various areas of the cortex, and synchronization brings cortical faculties to the retina, while the thalamus is the link that couples the retina to the rest of the brain through activity by gamma oscillations. This novel theory lays groundwork for further research by providing a theoretical understanding that expands upon the functions of the retina, photoreceptors, and retinal plexus to include parallel processing needed to form the internal visual space that we perceive as the external world.

Drawing as Driver of Creativity: Nurturing an Intelligence of Seeing in Art Students

AbstractThe article reasserts the primacy of drawing as a driver of creativity within art schools. It reviews specific aspects of visual perception theory and visual communication theory relevant to a pedagogical strategy as a means of nurturing an ‘intelligence of seeing’ in art students. The domain of drawing is theorised as a systemic‐functional semiotic model informed by Michael Halliday's model for language, as adapted by Michael O'Toole in his 2011 The Language of Displayed Art. The model is demonstrated as an aid to the production of drawings, rather than its more‐recognised efficacy as a means of negotiating meaning from existing works. The article is illustrated with examples of drawings by the author.

Visual Center based on Visual Perception Theory in Responsive Web Grid

Visual Center based on Visual Perception Theory in Responsive Web Grid

Preliminary analytical method for unsupervised remote sensing image classification based on visual perception and a force field

The analysis of remote sensing (RS) images, which is often accomplished using unsupervised image classification techniques, requires an effective method to determine an appropriate number of classification clusters. This paper proposes a preliminary analytical method to evaluate the input parameters for unsupervised RS image classification. Our approach involves first analysing the colour spaces of RS images based on the human visual perception theory. This enables the initial number of clusters and their corresponding centres to be automatically established based on the interaction of different forces in our supposed force field. The proposed approach can automatically determine the appropriate initial number of clusters and their corresponding centres for unsupervised image classification. A comparison of the experimental results with those of existing methods showed that the proposed method can considerably facilitate unsupervised image classification for acquiring accurate results efficiently and effectively without any prior knowledge.

Suárez on Visual Perception

This paper surveys the main issues in Suarez’s theory of visual perception, which in its complexity and systematical ordering has not been explored yet. These questions, exposed in the first five questions of the seventh disputation De sensibus exterioribus in particulari of Suarez’s Commentaria una cum quaestionibus in libros Aristotelis and in the first two sections of the fifth disputation De potentiis cognoscitivis in communi , are the following: 1) the nature of light; 2) the nature of colour; 3) the formal (adequate) object of vision; 4) the necessity and the nature of the visual species; 5) the critique of the theory of extramission; and 6) the organ of visual power. The main emphasis is laid on the presentation of the systematical dimension of Suarez’s visual theory.

Depicting Berkeleyan idealism: a study of two portraits by John Smibert

The well-known and undeniably formative relationship between John Smibert, colonial America’s first academically trained portrait painter, and George Berkeley, the eminent immaterialist philosopher of empiricism, has long puzzled scholars. Whereas most research has attempted to define their association by focusing on Smibert’s celebrated painting The Bermuda Group, this article argues that two highly enigmatic and potentially satirical paintings by Smibert—portraits long ago entitled Self-portrait, no. 1 and Self-portrait, no. 2—better clarify the intellectual relationship between the two men. Comparing these two paintings reveals that many of their otherwise conventional elements are deliberately opposed—from their sitters’ attire and gestures to their virtual spaces and formats. These oppositions are interpreted here as Smibert’s artistic engagement with the conflict between his training in the painterly depiction of the third dimension and Berkeley’s theory of visual perception.

Seeing into Drawing: Perception and Communication

The central theme of this article proposes that an amalgamation of aspects of visual perception theory and visual communication theory can inform the pedagogy of drawing in an art school context, and can empower the drawing practices of art students. The article explores James J. Gibson’s (1979) insights about how information contained within the structure of the arrays of light arriving at the eyes may be converted into geometric constructions used to represent our three-dimensional world upon a two-dimensional surface. The structure of these ambient arrays can be observed through three ways of seeing — modes of attention — that inform teaching strategies in the art school drawing studio. Roman Jakobson’s (1960) model of communication is introduced and adapted for use within a teaching programme that facilitates students’ understanding of how their compositional choices, informed by the three ways of seeing, and made in the process of drawing, can position viewers in terms of their mood and attitude towards the subject matter represented. These modes of attention are introduced to students as channels of vision through which they may focus upon levels of information pertaining to specific properties of the environment under observation. For example, we may notice some of the features of the constantly-changing arrays of light arriving at the eyes which afford us information about the nature of surfaces in the world — haptic values — softness, hardness, rigidity, plasticity. At another degree of abstraction, features affording information about our spatial position relative to surfaces and edges may be noticed: in general, the mode of attention tuned to information based upon distance-values. Some other features within the arrays of light relate to the interplay of line, shape, tone, texture and colour at the level of pattern and rhythm divorced from three-dimensional form: proximal values. The article is illustrated with student drawings and those of the author.