Literatura académica sobre el tema "Raised-line pictures"

Subjects were exposed to a three-dimensional model of a house and were asked to draw it using a raised-line drawing kit. Independent groups of ten each of sighted controls, early-blind, and late-blind subjects were told to identify the vantage point of tangible pictures of the model, including side views, ‘bird's-eye’ views from above, and views involving linear perspective. The ease or difficulty of picture interpretation depended upon the nature of the tangible drawing, with much better performance being recorded for side views. Performance was poor for foreshortened 3/4 views. Early-blind subjects were particularly unlikely to recognize views from above. In a control experiment with blindfolded sighted subjects the influence of prior information was examined: some subjects were told that the drawings could consist of side view or bird's-eye, top view, or 3/4 view drawings. This experiment showed that performance can be greatly improved through prior information about the nature of the tangible pictures.

Paleolithic representational art has a number of consistent characteristics: the subjects are almost always animals, depicted without scenic background, usually in profile, and mostly in outline; the means of representation are extremely economical, often consisting of only a few strokes that indicate the salient features of the animal which are sufficient to suggest the whole form; and it is naturalistic to a degree, but lacks anything like photographic realism. Two elementary questions are raised in this essay: (i) why did the earliest known attempts at depiction have just these characteristics and not others? and (ii) how are objects so minimally represented recognizable? The answers seem to lie with certain fundamental features of visual perception, especially figure—ground distinction, Gestalt principles of closure and good continuation, line surrogacy, component feature analysis, and canonical imaging. In the earliest pictures the graphic means used are such that they evoke the same visual responses as those involved in the perception of real-world forms, but eschew redundancies of color, texture, linear perspective, and completeness of representation.

Two experiments are reported on the contribution of visual experience to tactile perception. In the first experiment, sighted, congenitally blind, and late blind individuals made tactual matches to tangible embossed shapes. In the second experiment, the same subjects attempted tactile identification of raised-line drawings. The three groups did not differ in the accuracy of shape matching, but both groups of blind subjects were much faster than the sighted. Late blind observers were far better than the sighted or congenitally blind at tactile picture identification. Four of the twelve pictures were correctly identified by most of the late blind subjects. The sighted and congenitally blind performed at comparable levels in picture naming. There was no evidence that visual experience alone aided the sighted in the tactile task under investigation, since they performed no better than did the early blind. The superiority of the late blind suggests that visual exposure to drawings and the rules of pictorial representation may help tactile picture identification when combined with a history of tactual experience.

As we explore objects by touch we usually look towards our hands. Active touch (haptics) may therefore benefit from the simultaneous availability of visual information about the object that we are feeling and the alignment of spatial frames of reference centred on our head, eye and hand. If haptic processing usually uses visual and spatial inputs then even task-irrelevant visual and spatial manipulations may influence haptic shape identification. Scocchia et al. (2009) found that recognition of raised line pictures of familiar objects was better if people looked towards the pictures as they felt them although people were blindfolded so could not see their hand or the picture. We replicated their finding for 2D pictures and extended it to 3D, small-scale models of familiar objects. We also tested people’s speeded naming of real, familiar objects using their right hand. Performance was better when people looked towards the objects. In contrast, the position of the left hand did not influence haptic naming. Thus the spatial reference frame defined by the eyes/head influenced haptic shape processing but not that defined by an inactive hand. Furthermore, performance was the same whether people wore a mask and had their eyes closed, wore a mask but had their eyes open or looked through a narrow tube so could see a small area of their environment but not their hand or the object. Thus where people looked had a small but reliable effect on haptic object recognition but not what task-irrelevant information they could see.

Perception of raised-line pictures in blindfolded-sighted, congenitally blind, late-blind, and low-vision subjects was studied in a series of experiments. The major aim of the study was to examine the value of perspective drawings for haptic pictures and visually impaired individuals. In experiment 1, subjects felt two wooden boards joined at 45°, 90°, or 135°, and were instructed to pick the correct perspective drawing from among four choices. The first experiment on perspective found a significant effect of visual status, with much higher performance by the low-vision subjects. Mean performance for the congenitally blind subjects was not significantly different from that of the late-blind and blindfolded-sighted subjects. In a further experiment, blindfolded subjects drew tangible pictures of three-dimensional (3-D) geometric solids, and then engaged in a matching task. Counter to expectations, performance was not impaired for the 3-D drawings as compared with the frontal viewpoints. Subjects were also especially fast and more accurate when matching top views. Experiment 5 showed that top views were easiest for all of the visually impaired subjects, including those who were congenitally blind. Experiment 5 yielded higher performance for 3-D than frontal viewpoints. The results of all of the experiments were consistent with the idea that visual experience is not necessary for understanding perspective drawings of geometrical objects.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

Research Highlights: In this study, we present the use of time-lapse photos as a way to estimate the height of the load on the forwarders. This approach, using nonprofessional outdoor cameras, is a cheap and time-effective solution for continuous load height measurements, and it offers at least the same accuracy as a gauge measurement. This method represents another approach to the automation of time studies in forestry. Background and Objectives: Time studies require information about the load on the forwarders. Until now, this information was obtained either by using a gauge measure, sampling of the load, or averaging the load from large area datasets. More accurate methods like laser scanning are costly and fragile. During time study preparations, we suggested a robust system of measuring the load height and tested it against the commonly used gauge measuring technique. Materials and Methods: Two cameras took pictures of the load; these photos were processed for camera lens distortion and rectified into the cartesian coordinate system, and the height of the load was calculated. These values were then tested against gauge measured values using paired t-test. Results: Straight line distance calculated from the images and the gauge-measured distance did not show a significant difference (p-value 0.9354). Calculated vertical distance was, however, significantly different from the calculated straight-line distance (p-value of 0.0015), suggesting possible bias of the gauge measured distance. The root mean square error (RMSE) of the rectification process was, on average, 0.42 cm. Conclusions: The proposed method was verified to correspond with the gauge measure method; however, our research raised the question of the gauge method reliability, as the taken measurements are not perfectly vertical, and for the correct load estimation, the vertical distance is needed. We, therefore, conclude that for this photogrammetry method, the vertical, rather than straight-line, distance should be used. The presented solution can be used for long-term data collection without interrupting the whole forwarding process for taking the load measurement. The longer data processing in office enables researchers to spend less time in the field taking hand measurements.

La question du rôle de l'expérience et de l'imagerie visuelle dans la perception et l'identification haptique d'images aux traits en relief par des individus aveugles et voyants constitue la question de recherche de cette thèse. La thèse présente quatre études expérimentales qui portent sur la perception d'images tactiles non figuratives (des patterns de lignes simples) et figuratives (visages expressifs, objets communs). Les résultats montrent que 1-Des individus aveugles peuvent reconnaitre des patterns simples avec un niveau de performance comparable à celui des individus voyants. 2- La stratégie que les personnes aveugles utilisent pour répondre à cette tâche dépend de leur proportion de temps de vie sans expérience visuelle. 3-Il n'y a pas plus de différence de performance entre individus aveugles de naissance et voyants avec des images figuratives. 4-Des individus forts en imagerie visuospatiale sont plus performants que des faibles imageurs pour identifier des images tactiles d'objets communs. En conclusion, la perception haptique des images tactiles, figuratives ou non, s'avère globalement possible sans le recours de l'expérience visuelle ou de l'imagerie visuelle. Le type d'imagerie mentale impliqué dans la compréhension des images tactiles dépend des individus (statut visuel, expérience visuelle, aptitude en imagerie visuospatiale). Des perspectives sur le contrôle de la complexité des images et l'analyse des mouvements d'exploration par une technologie innovante sont proposées.

Since those born blind can draw and interpret raised-line drawings, depiction is not an essentially visual medium. Conceding this, Robert Hopkins denies that raised-line drawings can be works of pictorial art: tactile experiences of raised-line drawings are not aesthetic experiences. This paper addresses Hopkins’s concerns. The reasons given for evaluating a picture aesthetically can cite its tactile qualities instead of its visual qualities. In particular, a raised-line picture can be valued for how it evokes a tactile experience of a worldly scene, just as a visual picture can be valued for how it evokes a visual experience of its subject.

According to a core doctrine in aesthetics, the arts comprise a collection of art media, each characteristically perceived through a different sense modality. This doctrine depends on a doctrine in the theory of perception according to which it is possible to distinguish the senses in certain ways. Thus the view that pictures are essentially visual depends on the view that the content of vision is uniquely perspectival; pictures are visual because they are perspectival. However, raised-line drawings made by congenitally blind people cast both views in doubt. The chapter considers the implications of this conclusion for aesthetics and for theories of vision.