Molly Bang's brilliant, insightful, and accessible treatise is now revised and expanded for its 25th anniversary. Bang's powerful ideas—about how the visual composition of images works to engage the emotions, and how the elements of an artwork can give it the power to tell a story—remain unparalleled in their simplicity and genius. Why are diagonals dramatic? Why are curves calming? Why does red feel hot and blue feel cold? First published in 1991, Picture This has changed the way artists, illustrators, reviewers, critics, and readers look at and understand art.

For 35 years, visual recognition by animals has been studied by showing the subjects pictures of social or non-social objects, or scenes without questioning much the validity of pictorial representations. Here comparative psychologists and cognitive neuroscientists address that issue by asking such questions as whether animals recognize visual objects or scenes on pictures despite variations in viewpoint, the extent to which birds recognize the real world from its two-dimensional representations, and whether monkeys extract gaze information from pictures. c. Book News Inc.

Perception of Pixelated Images covers the increasing use of these images in everyday life as communication, socialization, and commerce increasingly rely on technology. The literature in this book is dispersed across a wide group of disciplines, from perception and psychology to neuroscience, computer science, engineering, and consumer science. The book summarizes the research to date, answering such questions as, What are the spatial and temporal limits of perceptual discrimination of pixelated images?, What are the optimal conditions for maximizing information extracted from pixelated images?, and How does the method of pixelation compromise or assist perception? - Integrates research from psychology, neuroscience, computer science, and engineering - Explains how the process of perception works for pixelated images - Identifies what assists and hinders perception, including the method of pixelation - Discusses the limits of perception of pixelated images

Social action art in book form, Perception: A Photo Series encourages readers to look, and then look again. Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called “Perception Photo Series,” it confronted common stereotypes of First Nation, Inuit and Métis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg’s downtown buildings, Adam’s stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.

Durer's Devices: Beyond the Projective Model of Pictures is a collection of papers that discusses the nature of picture making and perception. One paper presents a perceptual theory of pictorial representation in which cultural and historical options in styles of depiction that appear to be different are actually closely related perceptually. Another paper discusses pictorial functions and perceptual structures including pictorial representation, perceptual theory, flat canvass, and the deep world. One paper suggests that perception can be more a matter of information "make up" than "pick up." Light becomes somewhat informative and the eye, correspondingly, becomes less or more presumptive. Another paper notes that human vision is transformed by our modes of representation, that image formation can be essentially incomplete, false, or misleading (primarily as regards dramatic performance and pictorial representation). One paper makes three claims that: (1) the blind have untapped depiction abilities; (2) haptics, involving the sense of touch, have an intuitive sense of perspective; and (3) depiction is perceptual based on graphic elements and pictorial configurations. The collection is suitable for psychologists, physiologists, psychophysicists, and researchers in human perception or phenomenology.

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Author List. Introduction. Section I: Selected Papers of Julian Hochberg. 1. Hochberg, C.B. & Hochberg, J. (1952). Familiar size and the perception of depth. Journal of Psychology, 34, 107-114. 2. Hochberg, J. & McAlister, E. (1953). A quantitative approach to figural goodness. Journal of Experimental Psychology, 46, 361-364. 3. Hochberg, J. & Beck, J. (1954). Apparent spatial arrangement and perceived brightness. Journal of Experimental Psychology, 47, 263-266. 4. Hochberg, J. (1956). Perception: Toward the recovery of a definition. Psychological Review, 63, 400-405. 5. Hochberg, J. (1962).

Combining science and photography, Brian Dilg explores the reasons behind Why You Like This Photo.

In this book a leading researcher and artist explores how we see pictures and how they can communicate messages to us, both directly and indirectly by making allusions to objects in space or to stored images in our minds. Originally published in 1990, Dr Wade provides fascinating examples of pictures that communicate hidden messages, either by implying something else, or by a shape or portrait which is carried covertly within another design. He analyses image processing stages in vision, demonstrating that the various stages may be related to styles in representational art. He shows how the way we have been taught to look at and recognise objects, affects the way we see them. The book lavishly illustrates with original examples of visual allusions and includes detailed practical advice on how photographers and designers can create them. Essential reading for photographers, designers, artists, people in film and television, and anyone involved in visual science , visual communication and advertising.