Perception the top-down way our brains organise and interpret information and place in context. All experience of environment is influenced by our cultural and social upbringing and understanding and perception allows us to understand it. Sight is the minds interpretation of the data our eyes are feeding us.
Perceptual Set is the psychological factors that determine how you perceive your environment.
Seeing is believing and believing is seeing.
Emotions and motivations can affect our perception.
Form Perception
Figure-ground relationship is the organisation of the visual field into objects (the figures) that sand out from their surroundings (the ground). This is particularly important for me as a motorcyclist on the road–drivers are trained to recognise other cars but are much less likely to notice or see motorcycles and cyclists because they're not trained to recognise them. This leads to the common excuse "sorry mate, I didn't see you" or SMIDSY.
Rules of grouping
Proximity says we like to group like objects together.
Continuity preferences smooth continuous patterns and transitions rather than jarring ones.
Closure pushes the mind to fill in perceptual gaps with what we think or assume sholud be there rather tahn what actuallyis.
Ever heard your drawing teach tell you to "draw what is there" rather than go by your own desire for what should be there because then you're favouring your sense of perception rather than what actually exists.
Depth perception allows us to guess distance and size. Binocular cues uses both eyes to compare each to judge distance using retinal disparity. Monocular cues reference relative size and height, linear perspective relies on lines and convergence, texture gradient, and interposition or overlap tells when one object is in front or behind another. Motion perception helps gauge distance but large objects appear to move slower and small objects faster. Perceptual constancy allows us to understand objects across a range of variables, such as colour, size and movement.
Your brain constructs your perceptions.
Dazzle Paint and Camouflage techniques
Dazzle painting was implemented in World War I and continued throughout World War II as an attempt to confuse enemy ships and submarines as to the speed and heading of ships to prevent successful sinking by torpedo. Loud, lurid patterns and false bowlines and wash were incorporated. Effectiveness is contentious without solid scientific data, though the idea is interesting.
You can also attempt to use people's perception to fool them into perceiving a bunch of balloons as a battalion of tanks, or that straw sculptures were planes along a runway. These attempts at camouflage were called the ghost army.
Lecture 5 – Perception: Dr. Myra Thiessen
The five senses provide information to the brain which must then develop a percept and our psychology helps to identify, organise and interpret this information and the means by a representation is constructed.
Visual Literacy is the ability to accurately interpret visual representations in both form (what is it) and meaning (what does it mean/say). We might ask what am I looking at? What do I see? What meaning does it hold? What do I know about it and what does it mean to me? This is affected by context and environment, cultural knowledge, expectations and media.
Gestalt psychology seek to explain perceptions in terms of gestalts rather than by constituents. Gestalts are an organised whole perceived as more than its parts. Gestalt can translate into configuration. So, we impost perceptual organisation when presented with certain visual stimuli. The mind is predistposed to interpret patterns and relationship. We can use this to develop visual arguments which are unique and convincing.
Gestalt principles include:
- proximity is the relationship created when objects exist within space.
- similarity relates to the shared property of objects grouped together, such as objects of a similar colour, shape, size, etc.
- good continuation we prefer to interpret objects as a smooth continuation rather than two separate pieces, such as two lines crossing in a + being interpreted as two lines crossing rather than two V shaped pieces meeting in the middle.
- closure the interpretation of an image that interprets something closed as opposed to open.
- common fate things that appear to move together will be interpreted as a group, such as a school of fish, birds or peloton.
- relative size more likely to interpret smaller objects as playing the figure on the ground.
- surroundedness
- orientation can dictate our desire to see depth and relationship between objects.
- symmetry assists in seeing objects as stable.
- pragnanz says that most visual stable or logical form will dictate how the object is interpreted.
Visual Queries are the act of attention that drives eye movements and seeks out visual patterns of information (such as how to navigate a complicated map or environment–how to get where you want to go?). Visual thinking consists of a series of visual queries taken with the intention of solving a cognitive problem. The goal of the reader assists us in how we seek to solve the visual. We seek out what we want, or expect, to see. The goal of the designer is to "support visual queries (so they can be} processed both rapidly and correctly". We want readers to see and interpret information quickly and accurately. We can create meaning through various visual cues and techniques. Example is the London Underground.
Perception is formed through sensory input and is interpreted and understood based on our experience of the physical world. We like order and impose visual order, which is understood through gestalt psychology. Designers draw on these principles to create and enhance meaning and to support visual queries.
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