Visual hierarchical feature processing: The relation of size, spatial position and identity

Dick, A. O.

doi:10.1016/0028-3932(72)90056-5

Cited by 4 publications

(3 citation statements)

References 11 publications

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“…focus on relationship between figures or semantic analyses). These results with paintings are consistent with empirical findings on the 'microgenesis' of a perceptual experience which demonstrate that spatial properties are one of the first stimulus dimensions to be analysed (Neisser, 1967;Dick, 1972).…”

Section: Resultssupporting

confidence: 88%

“…An affirmative answer is provided by theories which propose that perception can be analysed into several stages which are linked to the length of observation (Werner, 1948;Neisser, 1%7). Evidence supporting these theories indicate that location and spatial arrangement of informative elements are one of the first stimulus dimensions to be analysed (Flavell & Draguns, 1957;Dick, 1972). Moreover, with durations of viewing as long as 2 min, cognitive processes such as conceptualization and imagination become dominant relative to perception of pictorial elements.…”

Section: Marilyn Freimuth and Seymour Wapnermentioning

confidence: 99%

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The influence of lateral organization on the evaluation of paintings

Freimuth

Wapner

1979

British J of Psychology

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This study examines the influence of directional properties of lateral organization on evaluation of paintings. Lateral organization, as defined here, has two dimensions: (1) left or right location of the principal figure; and (2) left-to-right or right-to-left sequence of figures represented by the direction of suggested movement, action, or lines. That previous studies have failed to demonstrate consistently a relationship between evaluations and directional properties is attributed to methodological shortcomings involving lack of control of stimulus properties and exposure time. Here, on the basis of a well-defined judging procedure, paintings were distinguished according to whether each dimension of lateral organization depicted one or more than one direction. Under two exposure conditions, 5 and 20 s, three evaluations (general preference, balance, and dynamics) were made for paintings which were presented simultaneously in the artist-created, original view, and the mirror-image, reversed view. It was found that evaluations were influenced by directional properties (sequence of figures) with a 5 s exposure and by more inclusive formal features with a 20 s exposure. Implications of the findings for perception and aesthetics are considered.

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Section: Resultssupporting

confidence: 88%

Section: Marilyn Freimuth and Seymour Wapnermentioning

confidence: 99%

The influence of lateral organization on the evaluation of paintings

Freimuth

Wapner

1979

British J of Psychology

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“…These kinds of data provide evidence that the aftereffect is not peripheral and it certainly is not a peripheral afterimage. The relation between the aftereffect and an icon is not clear, although it seems to be consistent to suggest the possibility that the two phenomena are mediated by the same mechanism (e.g., Dick, 1972a;Parducci & Brookshire, 1956).…”

mentioning

confidence: 99%

Iconic memory and its relation to perceptual processing and other memory mechanisms

Dick

1974

Perception & Psychophysics

145

106

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Research on iconic memory is reviewed. Specific issues discussed include the duration of the icon, effects of stimulus variables, types of information lost, selection, processing capacity, and scanning. More general issues include the level of encoding in the icon and its relation to short-term memory. It is also argued that a number of experiments do not show what they were intended to show because of possible methodological problems. The view is developed that iconic memory is postretinal but uncoded; nor is it influenced directly by strategies or subsequent mechanisms.The idea of a brief, time-dependent memory serving as an early stage in the analysis of information has existed for a long time (MulIer & Pilzecher, 1901, cited in Woodworth & Schlosberg, 1954. Hebb (1949) employed the concept in his two-stage theory of memory. He suggested that memory consisted of a brief neural activity phase (lasting approximately 1/2 sec) and a second permanent, structural trace. In his theory, the function of the activity phase was to maintain the information until the structural celI assembly could be established. Subsequently, many other investigators have also incorporated a two-stage memory concept into their theoretical frameworks. For example, Broadbent (1958) used the concept to explain some of his observations in dichotic listening.The first clear behavioral evidence in support of such a time-dependent memory came in Sperling's (I 960) work, in which he showed a decline in accuracy during the first few hundred milliseconds following a brief tachistoscopic exposure (cf, Boynton, 1972). Sperling's work was soon supported by the results of Averbach and Coriell (1961), and subsequent investigators have generally found support for Sperling's results. Theorizing about Sperling's work came more slowly, but Neisser's (1967) theoretical discussions served to solidify the notion of a rapidly decaying memory. Of course, as the empirical work became available, the notion of iconic memory has become more definite. In general terms, iconic memory can be described as a large-capacity, short-duration image. It is a central memory and appears to hold material in a fairly literal form. Obviously, the mechanism is sensory-specific, and thus theoretical notions, including iconic memory, are limited to cases less general than Hebb's suggestions concerning a brief activity trace. Nevertheless, some theorists appear to assign iconic memory a role not unlike that required by Hebb (e.g., Haber, 1971).1In addition, there are practical implications of the phenomenon as well. For example, in everyday tasks, such as reading, we know that information is primarily taken in during fixations (Erdmann & Dodge, 1898, cited in Woodworth & Schlosberg, 1954Latour, 1962;Yarbus, 1967). Eye movements are important, of course, in determining the rate of reading and the sequence of fixations. Clearly, however, mechanisms other than eye movements must be involved in making spatial-to-temporal conversions on information taken in during a single fixation. [F...

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Spatial Abilities

Dick¹

1976

Studies in Neurolinguistics

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Visual hierarchical feature processing: The relation of size, spatial position and identity

Cited by 4 publications

References 11 publications

The influence of lateral organization on the evaluation of paintings

The influence of lateral organization on the evaluation of paintings

Iconic memory and its relation to perceptual processing and other memory mechanisms

Spatial Abilities

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