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Picture perception: toward a theoretical model (1974)
| Venue: | Psychological Bulletin |
| Citations: | 7 - 0 self |
BibTeX
@ARTICLE{Hagen74pictureperception:,
author = {Margaret A. Hagen},
title = {Picture perception: toward a theoretical model},
journal = {Psychological Bulletin},
year = {1974},
pages = {471--497}
}
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Abstract
J. J. Gibson's new theory of picture perception is described, and a program of research within his framework is outlined. An analysis of pictorial informa-tion is proposed in which a systematic investigation of the structural com-ponents of pictures and their varying effects on perception is seen as preliminary to the postulation of hypothetical pickup mechanisms. The basic components of pictures are described, and literature is reviewed in the problem areas of distorted and impoverished information, observation from the wrong station point, coexisting flatness and depth information, and the ambiguity of.the source of a single projection. The feasibility of the Gibsonian enterprise is demonstrated, and further avenues for research into a structural analysis of pictorial information are pointed out. A picture is a delimited surface with markings on it that represent something. This article is concerned with pictures in the Western post-Renaissance mode; namely, that attempt to represent, by means of structural equivalence of some order, the layout of sur-faces in the world. Alternative modes of representation, perhaps requiring alternative analyses, are beyond the scope of this article. By what means can a picture be said to represent, to bring clearly before the mind, the segment of the world pictured? The aim of this article is to demonstrate the feasi-bility of extending J. J. Gibson's theory of perception via motion-generated information to an adequate theory of frozen pictorial in-formation and to explicate the problems that must be dealt with in any comprehensive theory of the perception of pictures. The problems to be dealt with herein are the use by artists of modified linear perspective, caricature, impoverishment of information in outline drawings and black-and-white photo-graphs, the coexistence of flatness and depth information, observation from the wrong sta-tion point, and the ambiguity of a single projection (i.e., the same projected form can arise from an infinite variety of shapes).
Keyphrases
picture perception theoretical model single projection depth information hypothetical pickup mechanism new theory basic component modified linear perspective delimited surface structural com-ponents gibsonian enterprise pictorial informa-tion wrong station point frozen pictorial in-formation adequate theory projected form impoverished information infinite variety structural equivalence motion-generated information western post-renaissance mode problem area wrong sta-tion point comprehensive theory black-and-white photo-graphs alternative analysis alternative mode outline drawing pictorial information systematic investigation varying effect structural analysis
