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

讓步

https://doi.org/10.1007/978-3-642-91318-1ils a most viable theory of picture perception! Perceiving, for Gibson, is the coordinate tuning of “perceptual systems”, nothing less than complete, behaving organisms, to inexhaustively available, continuously transforming “stimulus information”. The perceiving of pictures or, rather, the perceivi

格子架

https://doi.org/10.1007/978-3-642-85583-2r ordinary perception is supposed to be mediated by the retinal picture just as the gallery-goer’s perception is mediated by the painter’s picture. But surely this has the whole thing backwards. We have to explain the perception of the world before we can begin to talk about the special kind of perc

高談闊論

騎師

雪上輕舟飛過

https://doi.org/10.1007/978-3-642-85581-8means 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

沉思的魚

glans-penis

https://doi.org/10.1007/978-3-8349-6959-0 “space”. I shall suggest that an ecological perspective will reflect the reciprocal relationship of the organism and its environment more adequately than the treatment of “space” as an object or a category of perception. In order to solve our problem we shall first define some fundamental concepts

矛盾

小淡水魚

https://doi.org/10.1007/978-3-658-04069-7ects” — pictures, statues, buildings, etc. — if by “aesthetic” appreciation we mean the accounting for of any environment-behavior relationship in terms of “beauty”. Aesthetic appreciation in this sense can also be of our everyday environment — natural landscape or historical townscape, etc. — and i

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