Thoughtful Drawings: A Computational Model of the Cognitive Nature of Children's Drawing

Burton, Ed

doi:10.1111/j.1467-8659.1995.cgf143_0159.x

Cited by 8 publications

(3 citation statements)

References 9 publications

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“…Stick figures are also used by infants and primitive cultures in early representations of human or animal forms. A computational system based on generalized cylinders called ROSE (Representation Of Spatial Experience) was developed in the mid-1990s by (Burton, 1995) to model young children's drawing.…”

Section: Visual Arts: Painting Drawing Sculptingmentioning

confidence: 99%

Medial Representations

Caianiello¹

2008

Computational Imaging and Vision

174

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Section: Visual Arts: Painting Drawing Sculptingmentioning

confidence: 99%

Medial Representations

Caianiello¹

2008

Computational Imaging and Vision

174

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“…In automatic surface shading to produce illustrations and engravings, Deussen et al use the 3D MA to provide the main axial directions from which to derive perpendicular intersection planes to draw hatching strokes on the object's surface (Deussen et al, 1999). A computational system based on generalized cylinders connected via an MA graph, named ROSE (Representation Of Spatial Experience), was developed in the mid-1990s by Ed Burton to model young children's drawings (Burton, 1995).…”

Section: Use Of the Ma In Computerized Drawing Systemsmentioning

confidence: 99%

Medialness and the Perception of Visual Art

Leymarie

Aparajeya

2017

Art and Perception

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In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as 'medial axis' or 'Voronoi graphs', as a core feature used by humans in perceiving shapes in static or dynamic scenarios.We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.

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“…Kennedy [10] let blind individuals draw spatial scenes and concluded that they do not represent images with perspective, maintaining a flat bidimensional projection in their drawings. Burton developed a system called Rose [3] that imitates children's drawings based on spatial models. However until now no systematic approach has been developed to design perceptual image maps of three-dimensional objects and scenes without visual cues.…”

Section: Introductionmentioning

confidence: 99%

Virtual environment interaction through 3-D audio by blind children

Sanchez¹,

Lumbreras²

1999

PsycEXTRA Dataset

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Interactive software is profusely used for learning, cognition, and entertainment purposes. Educational entertainment software is not very familiar among blind children because most computer games and electronic toys do not have appropriate interfaces to be accessible without visual cues. This work applies the concept of interactive hyperstories to blind children. Hyperstories are tried out in a 3D acoustic virtual world. In past studies we have conceptualized a model to design hyperstories. The study illustrates the feasility of the model as well as introduces to the field of entertainment software for blind children. As a result, we have designed and field tested AudioDoom, a virtual environment interacted through 3D Audio by Blind Children.AudioDoom is also a software that enables testing non trivial interfaces and cognitive tasks with blind children. We explored the construction of cognitive spatial structures in the minds of blind children through audio-based entertainment and spatial sound navigable experiences.Children playing AudioDoom were exposed to first person experiences by exploring highly interactive virtual worlds through the use of 3D aural representations of the space. This experience was structured in several cognitive tasks where they had to build concrete models of their spatial representations constructed through the interaction with AudioDoom by using Lego blocks.We analyze our preliminary results after testing AudioDoom with chilean children from a school for blind children. We discuss issues such as interactivity in software without visual cues, the representation of spatial sound navigable experiences, and entertainment software such as computer games for blind children. We also evaluate the feasibility to construct virtual environments through the design of dynamic learning materials with audio cues.

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Thoughtful Drawings: A Computational Model of the Cognitive Nature of Children's Drawing

Cited by 8 publications

References 9 publications

Medial Representations

Medial Representations

Medialness and the Perception of Visual Art

Virtual environment interaction through 3-D audio by blind children

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