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浮雕中的局部与整体。

Part and Whole in Pictorial Relief.

作者信息

Koenderink Jan, van Doorn Andrea, Wagemans Johan

机构信息

Laboratory of Experimental Psychology, Department of Brain & Cognition, University of Leuven (KU Leuven), Belgium; Faculteit Sociale Wetenschappen, Psychologische Functieleer, Universiteit Utrecht, The Netherlands.

Faculteit Sociale Wetenschappen, Psychologische Functieleer, Universiteit Utrecht, The Netherlands.

出版信息

Iperception. 2015 Dec 7;6(6):2041669515615713. doi: 10.1177/2041669515615713. eCollection 2015 Dec.

Abstract

What are "natural parts" of pictorial reliefs? Intuitively, and suggested by common lore from the visual arts, they are the bulges that stick out toward the observer. Each such bulge contains a (locally) nearest point and is bounded by one or (usually) more curvilinear ruts. The latter meet in "passes" or saddle points. This divides the relief into "natural districts". From a formal analysis one knows that reliefs can be divided into "hill districts" or "dale districts", these two "natural" parcellations being fully distinct. We report empirical results that strongly suggest that visual awareness is based on a partition in bulges, which are mutually only weakly connected. Such a notion immediately explains why inverted reliefs or surfaces illuminated from below appear so different as to be mutually not recognizable.

摘要

图像浮雕的“自然部分”是什么?直观地说,从视觉艺术的常识来看,它们是朝着观察者突出的凸起部分。每个这样的凸起都包含一个(局部)最近点,并由一条或(通常)多条曲线凹槽界定。后者在“通道”或鞍点处相交。这将浮雕划分为“自然区域”。从形式分析中我们知道,浮雕可以分为“山区”或“谷地区”,这两种“自然”划分是完全不同的。我们报告的实证结果强烈表明,视觉感知是基于凸起部分的划分,这些凸起部分之间的连接非常微弱。这样的概念立即解释了为什么倒置的浮雕或从下方照亮的表面看起来如此不同,以至于相互无法辨认。

https://cdn.ncbi.nlm.nih.gov/pmc/blobs/6a4f/4975123/f6ca95497e4a/10.1177_2041669515615713-fig1.jpg

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