{"title":"为什么错视画欺骗我们的视觉体验","authors":"GABRIELE FERRETTI","doi":"10.1111/jaac.12688","DOIUrl":null,"url":null,"abstract":"<div>\n \n <p>Philosophers suggested that usual picture perception requires the simultaneous occurrence of the perception of the surface and of the depicted object. However, there are special cases of picture perception, such as <i>trompe l'oeil</i> perception, in which, unlike in usual picture perception, the object looks like a real, present object we can interact with, of the kind we are usually acquainted with in <i>face-to-face perception</i>. While philosophers suggested that <i>usual picture perception</i> and <i>trompe l'oeil</i> perception must differ with respect to the perception of the surface, nobody has ever proposed a final explanatory account for such a difference. Here, I propose such an account. I consider the two possible options as candidates for the explanation of the illusory power of <i>trompe l'oeil</i> perception. The first is that, with <i>trompe l'oeil</i>s, we perceive the surface unconsciously. The second is that, with <i>trompe l'oeil</i>s, we cannot perceive the surface at all, that is, we cannot perceive it either consciously or unconsciously. I show that the second option is the unique plausible option, as it is in line with vision science, and with our received view about the nature of <i>usual picture perception</i>.</p>\n </div>","PeriodicalId":51571,"journal":{"name":"JOURNAL OF AESTHETICS AND ART CRITICISM","volume":"78 1","pages":"33-42"},"PeriodicalIF":1.0000,"publicationDate":"2020-02-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1111/jaac.12688","citationCount":"9","resultStr":"{\"title\":\"Why Trompe l'oeils Deceive Our Visual Experience\",\"authors\":\"GABRIELE FERRETTI\",\"doi\":\"10.1111/jaac.12688\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<div>\\n \\n <p>Philosophers suggested that usual picture perception requires the simultaneous occurrence of the perception of the surface and of the depicted object. However, there are special cases of picture perception, such as <i>trompe l'oeil</i> perception, in which, unlike in usual picture perception, the object looks like a real, present object we can interact with, of the kind we are usually acquainted with in <i>face-to-face perception</i>. While philosophers suggested that <i>usual picture perception</i> and <i>trompe l'oeil</i> perception must differ with respect to the perception of the surface, nobody has ever proposed a final explanatory account for such a difference. Here, I propose such an account. I consider the two possible options as candidates for the explanation of the illusory power of <i>trompe l'oeil</i> perception. The first is that, with <i>trompe l'oeil</i>s, we perceive the surface unconsciously. The second is that, with <i>trompe l'oeil</i>s, we cannot perceive the surface at all, that is, we cannot perceive it either consciously or unconsciously. I show that the second option is the unique plausible option, as it is in line with vision science, and with our received view about the nature of <i>usual picture perception</i>.</p>\\n </div>\",\"PeriodicalId\":51571,\"journal\":{\"name\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"volume\":\"78 1\",\"pages\":\"33-42\"},\"PeriodicalIF\":1.0000,\"publicationDate\":\"2020-02-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1111/jaac.12688\",\"citationCount\":\"9\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF AESTHETICS AND ART CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12688\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF AESTHETICS AND ART CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/jaac.12688","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Philosophers suggested that usual picture perception requires the simultaneous occurrence of the perception of the surface and of the depicted object. However, there are special cases of picture perception, such as trompe l'oeil perception, in which, unlike in usual picture perception, the object looks like a real, present object we can interact with, of the kind we are usually acquainted with in face-to-face perception. While philosophers suggested that usual picture perception and trompe l'oeil perception must differ with respect to the perception of the surface, nobody has ever proposed a final explanatory account for such a difference. Here, I propose such an account. I consider the two possible options as candidates for the explanation of the illusory power of trompe l'oeil perception. The first is that, with trompe l'oeils, we perceive the surface unconsciously. The second is that, with trompe l'oeils, we cannot perceive the surface at all, that is, we cannot perceive it either consciously or unconsciously. I show that the second option is the unique plausible option, as it is in line with vision science, and with our received view about the nature of usual picture perception.
期刊介绍:
The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.