Titlebook: Ecological Perception Research, Visual Communication, and Aesthetics; Klaus Landwehr Book 1990 Springer-Verlag Berlin Heidelberg 1990 Kogn

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SYN

爱管闲事

The communicative potential of pictures: eleven theses: they serve human communication. Man cannot survive without communication. As a species, humans are anatomically unspecialized and do not possess many instinctive, unlearned, and error-free behavioral dispositions. Man is continually forced to acquire new patterns of behavior and cognition. This is

Resection

On two distinct and quintessential kinds of pictorial representationan opportunity for an expiscation of better understanding of the ancient problem of pictorial perception. The traditions in question are those concerned with the development of pictorial representation through history, they are usually the province of the disciplines of Archeology and History of Art

Melodrama

Meaning, presence and absence in picturesmeans they are almost invariably subordinate to intention. Because of this an object’s size or shape or colour can be anomalous in a picture, to reveal an intention rather than just to be in error. The observer uses the shape to apprehend the intention. For example, we may show an object many times

TOXIN

Decomposing optical stimulus information by picturesually, for a building, such plans comprise of a ground-floor plan, side-views in orthographic projection, and some sectional views for explaining technical details later to be hidden within the building. Occasionly, we also find renderings of specific views, not necessarily optically possible ones,

TOXIN

欲望小妹

Ecological perception and aesthetics: pictures are affordance-freed another way or method of getting knowledge to the philosophical thinking of his days. Baumgarten tried to challenge the belief that knowledge is only to be achieved by the kind of reasoning which uses verbal concepts as the starting point of scientific reflections. This early definition of aesthet

Trypsin

Vasodilation

Epilogue: Availability and affordances of information from information surfacesa first attempt to define the scope and direction of questions to be raised, the “tools” available, and critical items to be kept in mind. Most of the contributors agree that Gibson’s ecological approach to visual perception provides a useful basis to initiate valuable conceptual criticism of visual