3/5/2015. Perception and Cognition. Perception and Cognition. Perception and Cognition. Perception and Cognition. Perception and Cognition

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BRAIN BETWEEN COGNITION AND OPTICAL ILLUSION The Laws of Gestalt (FORM ) group regulations of how we receive individual elements and organize them into unities.

1 BRAIN BETWEEN COGNITION AND OPTICAL ILLUSION The Laws of Gestalt (FORM ) group regulations of how we receive individual elements and organize them into unities. This means that we are conditioned by psychological stimulus. However, it is necessary that the individual items are in contrast with the background. The laws of Gestalt were described by Max Wertheimer in THE PRINCIPLE OF INDIVIDUATION OF FIGURE-BACKGROUND IS AN IMPORTANT BASIS OF OUR PERCEPTION. THE LAWS OF GESTALT: BRAIN BETWEEN COGNITION AND OPTICAL ILLUSION LAW OF GOOD FORM LAW OF SIMILARITY LAW OF PROXIMITY LAW OF CONTINUITY LAW OF CLOSURE LAW OF COMMON FATE LAW OF SYMMETRY LAW OF PAST EXPERIENCE LAW OF FIGURE - GROUND THE LAW OF GOOD FORM This law defines that stimuli are perceived to lead to a result of simple elements. The possible interpretation of a range of figures, there will be seen the one that produces a closed figure. THE LAW OF SIMPLICITY EXAMPLE: URBAN CONTEXT A) FIGURE B) POSSIBLE INTERPRETATION C) PREFERRED FIGURE THE LAW OF SIMPLICITY EXAMPLE: URBAN CONTEXT THE LAW OF SEMPLICITY EXAMPLE: TOY FOR CHILDREN TO LEARN THE MAIN FORMS 1

2 THE LAW OF SIMILARITY ELEMENTS THAT LOOK ALIKE, are interpreted as a set, a group. Clusters are built up for different reasons: A) SIMILAR FORMS B) FORMS WITH THE SAME C) FORMS WITH SAME SIZE we see 3 columns of DIRECTION we see 2 rows with big squares and 2 columns with we see 3 coloumns of squares squares and 3 rows with circles, not 5 rows with and 2 columns with rhombus, small squares and not 5 squares and circles not 5 rows with squares and columns rhombus THE LAW OF PROXIMITY Items are linked by their neighborhood, that means items which are located near one another are perceived as a group In the way the image below shows, EVEN THE PRESENCE OF TWO DIFFERENT FORMS CREATES A GROUP. THIS MEANS THAT THE LAW OF NEIGHBORHOOD IS STRONGER THAN THE LAW OF SIMILARITY. D) FORMS WITH SAME COLOUR Further we group elements with same color. THE LAW OF CLOSE STANDING MARIO ROSSI ARCHITETTO IDEA ISTITUTO DI ERGONOMIA APPLICATA THE LAW OF CONTINUITY Example: business cards A) Grouping in rows B) Grouping by type of information VIA DELLA SPERANZA, ROMA - ITALIA TEL: FAX: MAIL: INFO@IDEA.IT IDEA ISTITUTO DI ERGONOMIA APPLICATA ROMA MARIO ROSSI ARCHITETTO We devide the figure in two different lines, the LAW OF CONTINUITY brings us to see two continous lines which run in a simple way. Therefore we think that the two lines crosses one another. MARIO ROSSI IDEA - ISTITUTO DI ERGONOMIA APPLICATA VIA DELLA SPERANZA, ROMA - ITALIA TEL: FAX: MAIL: INFO@IDEA.IT PER PRENOTAZIONI CHIAMARE PRIMA VIA DELLA SPERANZA, ROMA ITALIA TEL: FAX: MAIL: INFO@IDEA.IT Business card With undifferentiated information C) Grouping by type of information and colors IDEA ISTITUTO DI ERGONOMIA APPLICATA ROMA MARIO ROSSI ARCHITETTO VIA DELLA SPERANZA, 3 TEL: ROMA FAX: ITALIA MAIL: INFO@IDEA.IT Actually we could also see the two lines in a different way: THE LAW OF GOOD CONTINUATION EXAMPLE: ORIENTATION ON CITY MAP (COGNITIVE MAPPING) THE LAW OF CONTINUITY EXAMPLE: ORIENTATION ON CITY MAP (COGNITIVE MAPPING) URBAN AREA OF TURIN (CORSO FRANCIA) URBAN AREA OF TURIN (CORSO FRANCIA) LOOKING ON THE MAP, WE ORGANIZE THE PLAN WITH SIMPLE LINES 2

3 THE LAW OF CONTINUITY EXAMPLE: ORIENTATION ON CITY MAP (COGNITIVE MAPPING) THE LAW OF CONTINUITY EXAMPLE: ORIENTATION ON CITY MAP (COGNITIVE MAPPING) URBAN AREA OF TURIN (CORSO FRANCIA) THEORETICALLY WE CAN ORGANIZE THE PLAN ALSO WITH DIFFERENT LINES, BUT WE WOULDN T DO THAT. URBAN AREA OF TURIN (CORSO FRANCIA) THE ORGANISATION OF THE URBAN AREA OFTEN IS BUILT UP BY IMPORTANT TRAFFIC AXES, DIFFERENT TO OUR EXPECTATIONS. THEREFORE THE MAPS OFTEN ARE COLORED TO SHOW THESE MAIN STREET CONFIGURATIONS. ELEMENTS WHICH SEEM TO CLOSE A FIGURE, ARE SEEN AS AN UNITY, EVEN IF THEY DO NOT CREATE AN UNIQUE CLOSED FIGURE. DURING THE DESIGN OF AN BRAND, OBSERVATION OF OPEN OR CLOSED FIGURES MAY CREATE STRONG OR WEAK ICONS. IF WE HAVE TO CLOSE A FIGURE, THE BRAND USUALLY WILL APPEAR WEAK, MEANWHILE CLOSED ICONS WILL RESULT STRONG. AS BRAND ICONS ARE VERY IMPORTANT FOR MEMORY AND IDENTIFICATION, IT IS IMPORTANT TO CREATE STRONG DESIGN. WEAK: STRONG: THE WEAKNESS OF THE LETTERS IS REINFORCED BY THE CIRCLE AROUND THE HOLE FIGURE. THE BRAND HOWEVER IS WORKING WELL AS THERE IS THE BIRD IN THE A THE LETTERS ARE VERY COMPACT IT IS POSSIBLE TO SEE A GIRL AND DOG S PROFILE WE SEE 4 RECTANGULAR FIGURES THE SYMBOL IS TOO SMALL PER CREATE A CLOSED GROUP THE SYMBOL IS COMPOSED BY SINGLE ELEMENTS WITHOUT RELATION RETURN TO THE OLD ICON FINALLY THERE IS A UNIFICATION OF MORE TRADITIONAL FORMS 1968 BUT THE GAME WITH OPEN FORMS CONTINUES.! SI TORNA AL VECCHIO FONT E INFINE SI FONDONO LE FORME

4 EXAMPLE: WRITINGS NOT COMPLETE / NOT PERFECT EXAMPLE: ERRORS IN TEXT S A) RILIEF B) DISTURBING LINES C) MISSING LETTERS Acocirndg to a sutdy by the Uinevirsty of Cadmbrige, it is not ipmroatnt how wrdos are wirettn, all the letetrs can be in a wnrog pcale. It is irptmonat olny taht the frist and last lteter are at the rgiht plcae, the rset is not ipmotrant. The barin is awlyas albe to rceonizge this cahos of leterts, bceasue it deos not raed ecah signle letter but the from of the wrod... You see? D) SHADOW THE LAW OF COMMON FATE ELEMENTS WHICH CAN BE RECOGNIZED BY A SIMILAR DESTINY, ARE SEEN AS A GROUP THE LAW OF SYMMETRY PROBABLY THERE IS A REQUEST OF HARMONY DURING THE PERCEPTION PROCESS. THESE 6 LINES, ACCORDING TO THE LAW OF NEIGHBORHOOD, WE WOULD PERCEIVE AS SHOWN IN FIGURE 2, BUT PROBABLY WE PREFER FIGURE 3 IN ORDER NOT TO LEAVE ALONE THE OUTER LINES. 2) 3) THE LAW OF EQUALITY THE LAW OF PAST EXPERIENCE ACCORDING TO THE ENVIRONMENTAL SITUATION, SAME ELEMENTS CA BE PERCEIVED IN DIFFERENT WAYS. WE CAN READ IN A HORIZONTAL WAY THE NUMBERS 12, 13, 14. THEREFORE WE HAVE NO DOUBT TO SEE THE COLUMNS LIKE THE IMAGE BELOW. WE CAN READ VERTICALLY THE LETTERS A, B, C 4

IT IS MORE OR LESS IMPOSSIBLE TO PERCEIVE CONTEMPORARLY MORE FIGURES, AS WE CAN FOCUS ONLY A SMALL PART OF THE WHOLE FIGURE, AND THE REMAING ELEMENTS GETS A DEFORMED BACKGROUND OF THE OBSERVED FIGURE.

5 THE LAW OF FIGURE-GROUND AS ALREADY UNDERLINED, THE HUMAN EYE IS ABLE TO RECOGNIZE THINGS WHICH ARE IN CONTRAST WITH THE BACKGROUND. FOLLOWING THIS CONCEPT, THE PSYCOLOGIST EDGAR RUBIN HAS USED THE SO-CALLED VASE OF RUBIN TO ANALYZE THIS PHENOMENON. IT IS MORE OR LESS IMPOSSIBLE TO PERCEIVE CONTEMPORARLY MORE FIGURES, AS WE CAN FOCUS ONLY A SMALL PART OF THE WHOLE FIGURE, AND THE REMAING ELEMENTS GETS A DEFORMED BACKGROUND OF THE OBSERVED FIGURE. THERE CAN BE ALSO MORE PARALLEL FIGURES. ONE TIME YOU SE A BLU VASE ON A BLACK BACKGROUND, ANOTHER TIME YOU SEE TWO FACES. THE INDIAN LANDSCAPE HIDES A SECRET. TRY TO TURN THE PICTURE. AS WE CAN SEE IN THE PICUTRE BELOW, WITH DEFORMED BACKGROUNDS THE HUMAN EYE WILL NOT PERCEIVE A SECOND IMAGE. REASON FOR THIS IS THE LAW OF EQUALITY (OR REST): THE HUMAN EYE WILL SEE ONLY 4 PERSONS. SPACE BETWEEN TWO FIGURES MULTIPLICATION OF THE FIGURE, CREATES A GEOMETRICAL COMPOSITION, LOOSING THE ATTENTION TO THE SINGLE ITEM. THE DRAWINGS OF M.C. ESCHER THAT MEANS ALSO THAT WE PREFER TO SEE FINE ELEMENTS AS A DRAWING ON THE BACKGROUND, AND LARGER FIELDS AS BACKGROUND. WHITE OR BLACK FISHES AND HORSES? 5

THE DRAWINGS OF M.C. ESCHER THE DRAWINGS OF M.C. ESCHER THE CONCEPT WORKS ALSO BY USING COLORS. BLUE, RED OR WHITE MEN? THE DRAWINGS OF M.C. ESCHER ECHER CREATES ALSO ANIMATION WITH HIS DOUBLE- FACE DRAWINGS.

ACCORDING TO RUDOLF ARNHEIM, THERE CAN BE DIFFERENT INTERPRETATION OF THE COMPOSITION: WE CAN SEE THE PICTURE IN DIFFERENT WAYS: A) ALL DIFFERENT LAYERS B)

PPROBABLY WE WILL PERFER TO PERCEIVE THIS FIGURE AS A WHITE ITEM WITH A CENTRAL HOLE, IN WHICH THERE IS ANOTHER WHITE ITEM.

6 THE DRAWINGS OF M.C. ESCHER THE DRAWINGS OF M.C. ESCHER THE CONCEPT WORKS ALSO BY USING COLORS. BLUE, RED OR WHITE MEN? THE DRAWINGS OF M.C. ESCHER ECHER CREATES ALSO ANIMATION WITH HIS DOUBLE- FACE DRAWINGS. LET S TRY TO ANALISE THE EFFECT OF FIGURE- BACKGROUND USING THE FIGURE OF JEAN ARP ELEVEN CONFIGURATIONS. ACCORDING TO RUDOLF ARNHEIM, THERE CAN BE DIFFERENT INTERPRETATION OF THE COMPOSITION: WE CAN SEE THE PICTURE IN DIFFERENT WAYS: A) ALL DIFFERENT LAYERS B) HOLE AND LAYERS C) TWO LEVELS DAY OR NIGHT? PPROBABLY WE WILL PERFER TO PERCEIVE THIS FIGURE AS A WHITE ITEM WITH A CENTRAL HOLE, IN WHICH THERE IS ANOTHER WHITE ITEM. FROM THE PHYSICAL POINT OF VIEW, IT IS ONLY A UNIQUE LAYER. D) TWO LAYERS E) UNIQUE LAYER PERSPECTIVE: PHYSIOLOGICAL REQUIREMENTS IN ANY CASE WE LIKE TO ORGANISE ALSO PICTURES WITH DOULBE FACE ELEMENTS. PREFERING SYMMETRICAL ELEMENTS. FURTHER WE PREFER TO SEE ROUNDED ELEMENTS (CONVEX) AND NOT CONCAVE. 6

7 MONOCULAR INDEX: ACCOMMODATION MONOCULAR INDEX: INTERPOSITION / OCCLUSION MONOCULAR INDEX: INTERPOSITION / OCCLUSION 7

8 8

9 9

10 MONOCULAR INDEX: LINEAR PERSPECTIVE MONCULAR INDEX: GRADUAL TEXTURE MONCULAR INDEX: GRADUAL TEXTURE MONCULAR INDEX: GRADUAL TEXTURE MONCULAR INDEX: GRADUAL TEXTURE

11 MONCULAR INDEX: GRADUAL TEXTURE MONOCULAR INDEX: SIZE, RELATIVE HEIGHT 90 MONOCULAR INDEX: SIZE, RELATIVE HEIGHT MONOCULAR INDEX: SIZE, RELATIVE HEIGHT BINOCULAR INDEX: OCULAR CONVERGENCY 11

Perception. What We Will Cover in This Section. Perception. How we interpret the information our senses receive. Overview Perception

Perception. What We Will Cover in This Section. Perception. How we interpret the information our senses receive. Overview Perception Perception 10/3/2002 Perception.ppt 1 What We Will Cover in This Section Overview Perception Visual perception. Organizing principles. 10/3/2002 Perception.ppt 2 Perception How we interpret the information