In the Mind's Eye: Julian Hochberg on the Perception of Pictures, Films, and the WorldMary A. Peterson, Barbara Gillam, H. A. Sedgwick Oxford University Press, 4 sty 2007 - 656 How can we best describe the processes by which we visually perceive our environment? Contemporary perceptual theory still lacks a coherent theoretical position that encompasses both the limitations on the information that can be retained from a single eye fixation and the abundant phenomenal and behavioral evidence for the perception of an extended and coherent world. As a result, many leading theorists and researchers in visual perception are turning with new or renewed interest to the work of Julian Hochberg. For over 50 years, in his own experimental research, in his detailed consideration of examples drawn from a wide range of visual experiences and activities, and most of all in his brilliant and sophisticated theoretical analyses, Hochberg has persistently engaged with the myriad problems inherent in working out the kind of coherent theoretical position the field currently lacks. The complexity of his thought and the wide range of areas into which Hochberg has pursued the solution to this central problem have, however, limited both the accessibility of his work and the appreciation of his accomplishment. In this volume we seek to bring the full range of Hochberg's work to the attention of a wider audience by offering a selection of his key works, many taken from out-of-print or relatively inaccessible sources. To facilitate the understanding of his accomplishment, and of what his work has to offer to contemporary researchers and theorists in visual perception, we include commentaries on salient aspects of his work by 20 noted researchers. In the Mind's Eye will be of interest to researchers working on topics such as perceptual organization, visual attention, space perception, motion perception, visual cognition, the relationship between perception and action, picture perception, and film, who are striving to obtain a deeper understanding of their own fields, and who want to integrate this understanding into a broader, unified view of visual perceptual processing. |
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Strona 3
... tridimensional objects are perceived, autochthonously, in place of less regular two-dimensional shapes (stimulus conditions permitting; cf. 20, pp. 159–160); interposition may be due to learning or, instead, to ''completion'' behind the ...
... tridimensional objects are perceived, autochthonously, in place of less regular two-dimensional shapes (stimulus conditions permitting; cf. 20, pp. 159–160); interposition may be due to learning or, instead, to ''completion'' behind the ...
Strona 13
... tridimensional cubes (4). Drawings of each cube were presented in balanced order for 100 sec. each to 80 college students, providing a pool of over 2,600 responses for each stimulus; Ss. Figure 2.2. The Kopfermann ''cubes'' Figure 3.1 ...
... tridimensional cubes (4). Drawings of each cube were presented in balanced order for 100 sec. each to 80 college students, providing a pool of over 2,600 responses for each stimulus; Ss. Figure 2.2. The Kopfermann ''cubes'' Figure 3.1 ...
Strona 14
... tridimensional phase of each figure is more or less the same cube, the only appreciable difference being the apparent angle with respect to S. That is, we take the relative duration of two-dimensional responses to be proportional to the ...
... tridimensional phase of each figure is more or less the same cube, the only appreciable difference being the apparent angle with respect to S. That is, we take the relative duration of two-dimensional responses to be proportional to the ...
Strona 34
... tridimensional object means that these aspects of light are not determinative; that is, they can be produced by at least two spatial arrangements. Indeed, as Figure 5.3 indicates, there is an infinite number of different spatial ...
... tridimensional object means that these aspects of light are not determinative; that is, they can be produced by at least two spatial arrangements. Indeed, as Figure 5.3 indicates, there is an infinite number of different spatial ...
Strona 45
... tridimensional scene merely by keeping his gaze away from the edges of a picture. This specialized restriction of gaze—and perhaps a decreased attention to the binocular localization through suppression of the contribution of one edge ...
... tridimensional scene merely by keeping his gaze away from the edges of a picture. This specialized restriction of gaze—and perhaps a decreased attention to the binocular localization through suppression of the contribution of one edge ...
Spis treści
Commentaries on Julian Hochbergs Work | 415 |
Julian Hochberg Biography and Bibliography | 599 |
Name Index | 609 |
Subject Index | 620 |
Inne wydania - Wyświetl wszystko
In the Mind's Eye: Julian Hochberg on the Perception of Pictures, Films, and ... Julian E. Hochberg Ograniczony podgląd - 2007 |
Kluczowe wyrazy i wyrażenia
ambiguous analysis angle aperture appear attention Brunswik change blindness cognitive contour cube DeLucia demonstrations depth cues detect direct display distal distal stimulus distance edge effects encoded example expectations experience Experimental Psychology eye movements fact Figure figure-ground film fixation flat form perception fovea gaze Gestalt Gibson Helmholtz Human Perception inattentional blindness Intraub invariant Journal of Experimental Journal of Psychology Julian Hochberg learning look memory mental structure mind’s eye motion moving Necker cube normal object observer optic array orientation painting pattern perceived Perception and Performance perceptual organization peripheral vision perspective phenomena pictorial picture presented problem processes proximal stimulus Psychol Psychological Review Psychophysics reading recognition representation represented response reversal saccades scene schematic map selective attention sensory sequence shape space spatial specific stimulus information successive views surface tachistoscopic theory tridimensional unconscious inference viewer visual perception visual system words York