is artists' perception more veridical?
Clicks: 292
ID: 163009
2013
Article Quality & Performance Metrics
Overall Quality
Not rated
Combines reader engagement with the AI quality analysis. This
article has not been analysed, so there is no overall score —
reader engagement is measured and shown alongside.
Reader Engagement
Popular Article
30.0
/100
292 views
47 readers
AI Quality Assessment
Not analyzed
Readership in this journal
PopularRanked #116 of 403 articles by views in Journal of enzyme inhibition and medicinal chemistry
Most read
Least read
Bar heights use a square-root scale. Only the 120 most-read articles are drawn; the journal has 403 in total.
Mint this article as an NFT
Not yet mintedCreate a permanent, verifiable on-chain record of this article on the Scimatic Network. The NFT is held in your Journament account, and you can withdraw it to your own wallet at any time.
5
SUSD
one-off · no wallet required
Abstract
Figurative artists spend years practicing their skills, analyzing objects and scenes in order to reproduce them accurately. In their drawings, they must depict distant objects as smaller and shadowed surfaces as darker, just as they are at the level of the retinal image. However, this retinal representation is not what we consciously see. Instead, the visual system corrects for distance, changes in ambient illumination and view-point so that our conscious percept of the world remains stable. Does extensive experience modify an artist’s visual system so that he or she can access this retinal, veridical image better than a non-artist? We have conducted three experiments testing artists’ perceptual abilities and comparing them to those of non-artists. The subjects first attempted to match the size or the luminance of a test stimulus to a standard that could be presented either on a perspective grid (size) or within a cast shadow. They were explicitly instructed to ignore these surrounding contexts and to judge the stimulus as if it were seen in isolation. Finally, in a third task, the subjects searched for an L-shape that either contacted or did not contact an adjacent circle. When in contact, the L-shape appeared as an occluded square behind a circle. This high-level completion camouflaged the L-shape unless subjects could access the raw image. However, in all these tasks, artists were as much affected by visual context as novices. We concluded that artists have no special abilities to access early, non-corrected visual representations and that better accuracy in artists’ drawings cannot be attributed to the effects of expertise on early visual processes.
| Reference Key |
eperdreau2013frontiersis
Use this key to autocite in the manuscript while using
SciMatic Manuscript Manager or Thesis Manager
|
|---|---|
| Authors | ;Florian ePerdreau;Patrick eCavanagh |
| Journal | Journal of enzyme inhibition and medicinal chemistry |
| Year | 2013 |
| DOI |
10.3389/fnins.2013.00006
|
| URL | |
| Keywords |
Citations
No citations found. To add a citation, contact the admin at info@scimatic.org
Comments
No comments yet. Be the first to comment on this article.