According to the first theory, a child can perceive an object in a picture as soon as it can perceive a real object according to the second one, the child must learn to 'read' the picture much as it learns to read written speech. The author reviews two current conflicting theories of what a picture is: (1) that it consists of a sheaf of light rays coming to a station point or perceiver, each corresponding to a spot of color on the picture surface and hence that the picture can stand for a real object or scene insofar as the rays from the picture are the same as the rays from the real object (2) that it consists of a set of symbols, more or less like words, and the perceiver must learn to 'read' it. Finally, they argue that lessons from modern and postmodern artists' rejection of formal logic and the representationalist tradition, as well as their search for novel techniques, can be instructive and informative for the students of ecological psychology. The authors then propose that, if it is to achieve its goals, ecological psychology must find novel ways to understand how humans cope with everyday tasks. As a basis for this claim, they first use a phenomenological and hermeneutic critique of science to argue that ecological scientists need to assess critically the representationalist tradition in experimental science, focusing particularly on key assumptions of geometry and logic. In this article, the authors argue that reconciling these two seemingly disparate ways of knowing is a difficult, but nonetheless worthwhile, task that could benefit the field. Shaw too utilized both ways of knowing, often seeking insights from art and applying these in his theory building and empirical research. Nevertheless, Gibson never gave up on empirical research, consistently applying rigorous scientific methodology in his experimental work. His creativity cannot be denied, as evidenced by his many novel and intuitive ideas (e.g., the field of safe travel, perceptual systems, affordances) and he often sought to learn from artists. Gibson utilized both ways of knowing throughout his career. The authors suggest that one of the reasons for the difficulty comes from a perhaps surprising source: the tension between two radically different ways of knowing, artistic (aesthetic) and scientific (empirical–theoretical). Achieving this seemingly simple goal has proved to be exceedingly difficult. The central goal of ecological psychology is to develop a theory of how humans cope successfully with everyday tasks such as navigating safely through the environment. Sendo oriundo da intersecção espaço-temporal, a utilização do movimento em pesquisas de estética experimental pode contribuir para o esclarecimento dos processos que atuam na percepção subjetiva de tempo. Entretanto, processos correlatos devem responder pela percepção de movimentos reais, induzidos e representados.

A percepção de movimento, muito provavelmente, não está confinada a uma simples decomposição ou soma das suas grandezas constituintes (tempo, espaço e velocidade), pois na sua cognição estão combinadas sensações e percepções internas e externas, que ocorrem em sistemas e níveis perceptuais distintos. Diferentes formas de representar ou induzir movimento em estímulos ou distintas obras das artes visuais devem envolver não somente técnicas específicas, mas diferentes formas de interação que só ocorrem quando se dá o encontro entre obra e expectador. O estudo de imagens em movimento e de imagens estáticas que representam algum movimento contribui para o esclarecimento do papel do tempo como modulador da experiência humana. Having come from the intersection of temporal space, the utilization of movement in studies of experimental aesthetics can contribute to the understanding of the processes that act in the subjective perception of time.

Nevertheless, correlated processes shall respond by the perception of real movements, induced and represented ones. The perception of movement, probably, is not confined to a unique decomposition or sum of its constituent greatnesses (time, space and speed), thus in its cognition the internal and external sensations and perceptions are combined, which occur in distinct systems and perceptual systems. Different forms of representing and inducing movement in stimuli or in distinct works of visual art shall involve not only specific techniques, but different forms of interaction which only occur when there is an encounter between the work of art and the spectator. The study of images in movement as well as those static images, which represent some movement, contributes to the understanding of the role of time as a modulator of the human experience.

Awesome wallpapers hd imagination high