为什么错视画欺骗我们的视觉体验

IF 1 2区 艺术学 0 ART JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2020-02-04 DOI:10.1111/jaac.12688
GABRIELE FERRETTI
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引用次数: 9

摘要

哲学家们认为,通常的图像感知需要同时出现对表面和被描绘对象的感知。然而,也有一些特殊的图片感知,比如错视感知,在这种情况下,与通常的图片感知不同,物体看起来像一个真实的、我们可以与之互动的、我们通常在面对面感知中熟悉的物体。虽然哲学家们认为,通常的图像感知和错视感知在对表面的感知方面一定是不同的,但从来没有人对这种差异提出过最终的解释。在这里,我提出这样一种说法。我认为这两种可能的选择是解释错视错觉的虚幻力量的候选人。第一个是,使用错视画,我们无意识地感知表面。第二个是,使用错视法,我们根本无法感知表面,也就是说,我们无法有意识或无意识地感知它。我认为第二种选择是唯一可行的选择,因为它符合视觉科学,也符合我们所接受的关于通常图像感知本质的观点。
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Why Trompe l'oeils Deceive Our Visual Experience

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.

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来源期刊
CiteScore
1.50
自引率
25.00%
发文量
54
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.
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