Category: ENG

Kat­e­go­ria służą­ca do oznaczenia stron w języku angielskim.

ABOUT THE AUTHOR

PIOTR FRANCUZ, Ph.D.  Psy­chol­o­gist, Head of the Depart­ment of Exper­i­men­tal Psy­chol­o­gy and Per­cep­tion & Cog­ni­tion Lab. (since 2003-); Direc­tor of the Insti­tute of Psy­chol­o­gy of the John Paul II Catholic Uni­ver­si­ty of Lublin (2012–2019); mem­ber of the Psy­chol­o­gy Com­mit­tee of the Pol­ish Acad­e­my of Sci­ences (since 2015-); schol­ar­ship hold­er of Amer­i­can and Euro­pean uni­ver­si­ties (includ­ing the […]

BIBLIOGRAPHY

Ahnelt, P. K., Kolb, H., Pflug, A. R. (1987). Iden­ti­fi­ca­tion of a sub­type of cone pho­tore­cep­tor, like­ly to be blue sen­si­tive, in the human reti­na. The Jour­nal of Com­par­a­tive Neu­rol­o­gy, 255, pp. 18–34. Alber­ti, L. B. (1963). O malarst­wie. Wrocław-Warsza­­wa-Kraków: Zakład Nar­o­dowy in. Ossolińs­kich. Wydawnict­wo PAN Anc­man, C. E. G. (1991). Periph­er­al­ly Locat­ed CRTs: Col­or Per­cep­tion Lim­i­ta­tions. In: […]

EPILOGUE

 In place of epi­logue This book has no epi­logue. It is mere­ly an intro­duc­tion to neu­rocog­ni­tive the­o­ry of image, hence it is dif­fi­cult to write the end­ing to the intro­duc­tion. I have indi­cat­ed sev­er­al impor­tant issues here­in, which undoubt­ed­ly con­sti­tute the foun­da­tions for such a the­o­ry. It is impos­si­ble to com­pre­hend a paint­ing with­out under­stand­ing how a sub­jec­tive experience […]

BEAUTY

OCULOMOTOR CORRELATES OF BEAUTYY Beau­ty is no qual­i­ty in things them­selves: It exists mere­ly in the mind which con­tem­plates them; and each mind per­ceives a dif­fer­ent beau­ty (Hume, 1739/2012) What does it mean if some­thing is beau­ti­ful? From the begin­ning, the devel­op­ment of tech­niques of cod­ing mean­ings into the frame­work of images has been accom­pa­nied by […]

DEPTH

THIRD DIMENSION Painter’s great­est achieve­ment is to make the flat sur­face show con­vex bod­ies pro­trud­ing from this plane (Leonar­do da Vin­ci, 1792/2006) We live in a space defined by three dimen­sions: hor­i­zon­tal (right or left), ver­ti­cal (up or down) and deep (front or back). In this space, we see objects and we can rel­a­tive­ly accu­rate­ly determine […]

COLOR

IN WHAT WAY DOES THE BRAIN SEE COLORS? A pinch of phi­los­o­phy to begin with Try­ing to answer the title ques­tion: “In what way does the brain see col­ors?” we can­not avoid the answer to a much more basic ques­tion about the col­or­ful­ness of what the brain or the world might see. In oth­er words, the point […]

SHAPE

VISUAL ACUITY The range of vision by fovea What is the sig­nif­i­cance of the uneven dis­tri­b­u­tion of cones on the sur­face of the reti­na described in the pre­vi­ous chap­ters, i.e., the fact that in its cen­tral part, espe­cial­ly in the mac­u­la, there is the largest num­ber of them, and on the periph­ery — not too many? […]

INTRODUCTION

There are entire aca­d­e­m­ic pro­grams devot­ed to the psy­chol­o­gy of see­ing [how­ev­er] in real­i­ty it is still unclear to us how at all we see any­thing. This fact is hard­ly ever com­mu­ni­cat­ed to the stu­dents (Crick, 1997) At the inter­face of psy­chol­o­gy, human­i­ties, and neu­ro­science Although images cre­at­ed inten­tion­al­ly by humans dom­i­nate con­tem­po­rary civ­i­liza­tion, psychologists […]

VISION

Men­tal phe­nom­e­na, all con­scious and uncon­scious men­tal phe­nom­e­na, visu­al or audi­to­ry expe­ri­ences, expe­ri­ences of pain, tick­les, itch­ing, thoughts, cer­tain­ly the entire­ty of our men­tal life, result from the process­es that take place in our brains (Sear­le, 1995) Gen­er­al struc­ture of visu­al path­way Brain process­es under­ly­ing the expe­ri­ence of see­ing are con­duct­ed by neur­al net­works, which form […]

imagia — EN

Towards a neu­rocog­ni­tive the­o­ry of image Black square (1915) by Kaz­imir Male­vich is the most sophis­ti­cat­ed way of pre­sent­ing the essence of paint­ing and — in a sense — the essence of see­ing in gen­er­al. It is a syn­the­sis of both momen­tary acts of per­cep­tion and visu­al imag­i­na­tion, lim­it­ed by the vague frame of atten­tion. author | rewards | […]