{"title":"Editorial: Color and Space in Perception and Art","authors":"T. Agostini, B. Spehar","doi":"10.2478/gth-2022-0011","DOIUrl":"https://doi.org/10.2478/gth-2022-0011","url":null,"abstract":"","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"44 1","pages":"1 - 6"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42228602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Even today, film restoration (both photographic and cinematographic) is a challenge, because it involves multidisciplinary competences: from analogue film inspection and conservation to digitisation and image enhancement. In this context, thanks to the high manageability of digital files, the film restoration workflow often follows a digitisation step, which presents many approximations and issues that are often ignored. In this work, we propose an alternative approach to the issues commonly encountered in film restoration (mainly concerning colour and contrast restoration) aiming at restoring the original colour appearance, through models of human colour perception.
{"title":"A Computational Model of Human Colour Vision for Film Restoration","authors":"A. Plutino, Beatrice Sarti, L. Armellin, A. Rizzi","doi":"10.2478/gth-2022-0005","DOIUrl":"https://doi.org/10.2478/gth-2022-0005","url":null,"abstract":"Abstract Even today, film restoration (both photographic and cinematographic) is a challenge, because it involves multidisciplinary competences: from analogue film inspection and conservation to digitisation and image enhancement. In this context, thanks to the high manageability of digital files, the film restoration workflow often follows a digitisation step, which presents many approximations and issues that are often ignored. In this work, we propose an alternative approach to the issues commonly encountered in film restoration (mainly concerning colour and contrast restoration) aiming at restoring the original colour appearance, through models of human colour perception.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"44 1","pages":"175 - 182"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41869942","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary Since at least the time of Helmholtz, the process of visual perception has been regarded as a two-stage affair consisting of an initial sensory stage corresponding to the proximal stimulus and a subsequent cognitive stage corresponding to the distal object. This construction amounts to an awkward mind body dualism wherein part of perception is done by the body and the other part is done by the mind. Gestalt theory rejected both raw sensations and their cognitive interpretation, offering a single unified perceptual process that responds to an extended pattern of stimulation. They proposed organizational rules that describe how objects arise from the indifferent retinal mosaic. The same grouping principles by which objects are segmented also function to segregate regions of uniform illumination. Lightness values can then be computed by comparing luminance values within each such framework of illumination, with no need for the mystical concept of taking the illumination into account.
{"title":"Gestalt Theory and the Network of Traditional Hypotheses","authors":"A. Gilchrist","doi":"10.2478/gth-2022-0003","DOIUrl":"https://doi.org/10.2478/gth-2022-0003","url":null,"abstract":"Summary Since at least the time of Helmholtz, the process of visual perception has been regarded as a two-stage affair consisting of an initial sensory stage corresponding to the proximal stimulus and a subsequent cognitive stage corresponding to the distal object. This construction amounts to an awkward mind body dualism wherein part of perception is done by the body and the other part is done by the mind. Gestalt theory rejected both raw sensations and their cognitive interpretation, offering a single unified perceptual process that responds to an extended pattern of stimulation. They proposed organizational rules that describe how objects arise from the indifferent retinal mosaic. The same grouping principles by which objects are segmented also function to segregate regions of uniform illumination. Lightness values can then be computed by comparing luminance values within each such framework of illumination, with no need for the mystical concept of taking the illumination into account.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"44 1","pages":"97 - 116"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48079542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The Mona Lisa (1503–6) is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry (2015) demonstrated that a similar ambiguity can be perceived also in La Bella Principessa (1495–6), another portrait credited to Leonardo da Vinci (1452–1519) by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed (although not unanimously) to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close (0.6m) whilst the other group from Far (6m) from a Close (0.6 m) or Far (6 m) condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone (2000) and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness (Wertheimer, 1923) may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo.
摘要《蒙娜丽莎》（1503-6）可能是艺术中最著名的模糊表达的例子。Soranzo和Newberry（2015）证明，在许多人认为是达（1452-1519）的另一幅肖像画《公主贝拉》（1495-6）中也可以感受到类似的模糊。这篇论文的目的是表明，在另一幅被认为（尽管并非一致）是莱昂纳多的画作中，可以感受到一种模糊的表达：头发不顺的女士，或La Scapigliata。进行了一项实验，参与者以7分的Likert量表对La Scapigliata和Andrea di Cione（化名Il Verrocchio）创作的一幅类似画作的满意度进行评分。这两件艺术品以随机顺序呈现给两组参与者。一组可以在近距离（0.6米）观看艺术品，而另一组可以从远距离（6米）观看近距离（0.6m）或远距离（6m）的艺术品。结果表明，距离的变化影响了人们对莱昂纳多形象的满意程度，但对韦罗基奥的满意程度没有影响。具体来说，虽然这两件艺术品在特写条件下的满意度相似，但《Scapigliata》在远处被认为更满足。结论是，《Scapigliata》表现出一种模糊的表达，这种模糊性与《蒙娜丽莎》和《公主》中观察到的模糊性相似。这一结果只能在利文斯通（2000）提出的空间频率假说中得到部分解释，并表明对莱昂纳多作品的现象学描述可能更适合捕捉这一现象的全部范围。具体而言，有人认为，可能需要考虑感知归属的原则（Wertheimer，1923），以充分捕捉莱昂纳多所描绘的模糊程度。
{"title":"Another Ambiguous Expression by Leonardo da Vinci","authors":"A. Soranzo","doi":"10.2478/gth-2022-0001","DOIUrl":"https://doi.org/10.2478/gth-2022-0001","url":null,"abstract":"Abstract The Mona Lisa (1503–6) is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry (2015) demonstrated that a similar ambiguity can be perceived also in La Bella Principessa (1495–6), another portrait credited to Leonardo da Vinci (1452–1519) by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed (although not unanimously) to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close (0.6m) whilst the other group from Far (6m) from a Close (0.6 m) or Far (6 m) condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone (2000) and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness (Wertheimer, 1923) may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"44 1","pages":"41 - 60"},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48119277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary In 1919 Nicolai Hartmann (NH) convincingly justified that there cannot exist a “general law of causation” as A. Meinong had in mind. For him Meinong’s understanding of causation (linear, successive in time) was bound on the region of the physical layer of being, simultaneously postulating it as the only possible causation there. This is the starting point of the comparison between N. Hartmann‘s understanding of causation and that of the Gestalt Theory, for which neither in psychic nor in natural (physical) context linear-successive causality plays a part. Therefore NH’s conception of 1919 was still completely incompatible with that of the Gestalt Theory despite the fact that he was distancing himself from the “general law of causation” sensu Meinong. 20 years later he changed this by adding the “Wechselwirkung” (interaction) to the linear successive causation in the physical layer. In doing so he approached the Gestalt theoretical position but failed it insofar as for it his linear-successive understanding of causation generally has had its day with regard to natural processes, also consequently for the physical (instead interaction between system and border conditions applies, an interaction of field forces). Thus the term “causation“ had become free for a dynamic concept of causation which is equally appropriate for the physical and the psychic. NH makes this move not until 1949, shortly before his death, by writing: ... (see original quotation in the German summary above). It is the opinion of the author of this work that the ingenious systematics of NH‘s Critical Ontology (which is not a closed system) should make it possible to execute the necessary corrections in some details of his theory of layers without questioning the structure of his systematics, thus carrying out what NH was not able to do himself due to his death.
{"title":"Nicolai Hartmann und die Gestalttheorie. Ein Vergleich unter dem Aspekt “Kausalität”","authors":"H. Walter","doi":"10.2478/gth-2021-0023","DOIUrl":"https://doi.org/10.2478/gth-2021-0023","url":null,"abstract":"Summary In 1919 Nicolai Hartmann (NH) convincingly justified that there cannot exist a “general law of causation” as A. Meinong had in mind. For him Meinong’s understanding of causation (linear, successive in time) was bound on the region of the physical layer of being, simultaneously postulating it as the only possible causation there. This is the starting point of the comparison between N. Hartmann‘s understanding of causation and that of the Gestalt Theory, for which neither in psychic nor in natural (physical) context linear-successive causality plays a part. Therefore NH’s conception of 1919 was still completely incompatible with that of the Gestalt Theory despite the fact that he was distancing himself from the “general law of causation” sensu Meinong. 20 years later he changed this by adding the “Wechselwirkung” (interaction) to the linear successive causation in the physical layer. In doing so he approached the Gestalt theoretical position but failed it insofar as for it his linear-successive understanding of causation generally has had its day with regard to natural processes, also consequently for the physical (instead interaction between system and border conditions applies, an interaction of field forces). Thus the term “causation“ had become free for a dynamic concept of causation which is equally appropriate for the physical and the psychic. NH makes this move not until 1949, shortly before his death, by writing: ... (see original quotation in the German summary above). It is the opinion of the author of this work that the ingenious systematics of NH‘s Critical Ontology (which is not a closed system) should make it possible to execute the necessary corrections in some details of his theory of layers without questioning the structure of his systematics, thus carrying out what NH was not able to do himself due to his death.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"43 1","pages":"347 - 374"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48764907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”
{"title":"Pandemic Images and Gestalt Theory: Introspective Musings About a Series of Digital Art-works","authors":"R. Behrens","doi":"10.2478/gth-2021-0024","DOIUrl":"https://doi.org/10.2478/gth-2021-0024","url":null,"abstract":"Summary In this paper, the author shares his thoughts about the precedents, process, and significance of a series of “digital montage” artworks that he originated during the time of the COVID-19 pandemic. In particular, he talks about the indebtedness of these works to Gestalt theory, and particularly their use of what is sometimes known as “laws of seeing,” “unit-forming factors,” or inherent “grouping tendencies.”","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"43 1","pages":"309 - 322"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49585974","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In French, “Bande-annonce” means nothing else but a “trailer”: a short movie clip a few minutes long, created for promotional purposes to advertise for a new cinematographic piece to be shortly released on the screens of movie theaters. Yet, if read through the eyes of a German speaker, this very phrase—with certain liberty taken—can be interpreted as something like a classified advertisement (“Annonce”) for a new book, a volume (“Band”) to appear. And true, a new book is to come out in the more-or-less distant future. So, this article can be regarded as an announcement of a new book. In the meantime, let us have a closer look at the terminological monstrosity in the title: the “cultural–historical Gestalt psychology”. This phraseological creature hardly walks and will never fly: obscure, mysterious, and repulsive, it might weakly crawl at best, if only survives. The reader of these lines is pleaded to forgive me the irony of saying all this, but the phrase is really awkward and most likely confusing, indeed. And yet, here it is: here, it stands as the subject matter of this very paper, which not only presents an intellectual provocation (hopefully, in the positive meaning of the word, like in the expression “thought-provoking”) but also offers – what I believe – is a really new and exciting pathway in this science of humans.
{"title":"Cultural–Historical Gestalt Theory and Beyond: “The Russians Are Coming!”","authors":"A. Yasnitsky","doi":"10.2478/gth-2021-0026","DOIUrl":"https://doi.org/10.2478/gth-2021-0026","url":null,"abstract":"In French, “Bande-annonce” means nothing else but a “trailer”: a short movie clip a few minutes long, created for promotional purposes to advertise for a new cinematographic piece to be shortly released on the screens of movie theaters. Yet, if read through the eyes of a German speaker, this very phrase—with certain liberty taken—can be interpreted as something like a classified advertisement (“Annonce”) for a new book, a volume (“Band”) to appear. And true, a new book is to come out in the more-or-less distant future. So, this article can be regarded as an announcement of a new book. In the meantime, let us have a closer look at the terminological monstrosity in the title: the “cultural–historical Gestalt psychology”. This phraseological creature hardly walks and will never fly: obscure, mysterious, and repulsive, it might weakly crawl at best, if only survives. The reader of these lines is pleaded to forgive me the irony of saying all this, but the phrase is really awkward and most likely confusing, indeed. And yet, here it is: here, it stands as the subject matter of this very paper, which not only presents an intellectual provocation (hopefully, in the positive meaning of the word, like in the expression “thought-provoking”) but also offers – what I believe – is a really new and exciting pathway in this science of humans.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"43 1","pages":"269 - 278"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44677692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
These three mechanisms seem to be the main causes of the varieties of the Gestalt theory as evidenced in countless and diverse “receptions” of the theory; therefore, a deep understanding of the mechanisms and perfect skills of scholarly discourse “deconstruction”, coupled with cultural–historical textological and textual “ar-cheology” are needed to get rid of distortions and (re)produce the ideas in their immaculate and purified form as meant by their originators.
{"title":"Cultural–Historical Gestalt Theory and Beyond: A New History (and Theory) of the “Informal Personal Network” of Intellectuals Is Needed","authors":"A. Yasnitsky","doi":"10.2478/gth-2021-0027","DOIUrl":"https://doi.org/10.2478/gth-2021-0027","url":null,"abstract":"These three mechanisms seem to be the main causes of the varieties of the Gestalt theory as evidenced in countless and diverse “receptions” of the theory; therefore, a deep understanding of the mechanisms and perfect skills of scholarly discourse “deconstruction”, coupled with cultural–historical textological and textual “ar-cheology” are needed to get rid of distortions and (re)produce the ideas in their immaculate and purified form as meant by their originators.","PeriodicalId":33799,"journal":{"name":"Gestalt Theory","volume":"43 1","pages":"279 - 292"},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44933449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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