Sunday, April 4, 2010

Visual Reality

I was interested in how our method of perceiving 3-d space is somewhat sloppily stitched together from many different mechanisms. It makes sense that our brain would analyze a number of factors within our visual field and synthesize them to create a perception. However, the analysis of these factors can be so ill-defined that sometimes they conflict with each other. In any given visual situation, certain factors overpower others. It is rare to process an image with equal attention to all of its aspects. Perception is not defined by the results of any standard process. Instead, it is highly adaptive which means it cannot be grounded by any default.

This adaptivity is highly advantageous, of course. It is what allows people who live in dense jungles, and those who are restricted to monocular vision to function. But it also robs them of their sense of reality. While they have constructed a reality of their own, the jungle inhabitants cannot understand the view of a far off mountain and Sue was shocked to understand the definition of space. Our perception of the world through visuals is in no way tethered to its reality. It does not take long for our visual perceptions to rearrange our perception of reality given their stimuli as shown by Oliver Sacks' anecdote about his post surgical visual phenomena.

I was very struck by the part of the Conway-Livingstone article in which they discuss our acceptance of paintings with incongruous forms or shadows. We are ready to accept these changes, and though they are unnatural abominations, they don't bother us much. Conway and Livingstone explain that this may be caused by the fact that unnatural things don't happen in nature and distinguishing them is therefore an undeveloped and unimportant trait. This may be true to some extent. But constant exposure to specific lighting and spacial conditions and exclusion from others will quickly and effectively change the "reality" of perceiving space and objects.

It may be important for humans to be ignorant of the existence of their version of reality in order to focus and adapt to be successful. Perhaps it is our disregard for reality that separates us from animals. The lives of animals are closely linked to reality. Their existence is based on realistic necessities that need to be accomplished such as food and shelter. Meanwhile, we are preoccupied with other, more subjective activities. In order to think, and to create we must be able to divorce ourselves from reality and live in a perception. Our tendency for diverse visual experiences may be part of a larger list of attributes that make up our humanity.

2 comments:

  1. Although this may be completely off topic, your post reminded me of the movie, The Conformist directed by Bernardo Bertolucci. What an incredible example of visually construing reality to achieve powerful affects. Within each frame, space is exaggerated and distorted through lighting, totalitarian architecture, even the costumes, and merges Marcello's illusion of Fascism with that of the visual. At times, even the plot becomes peripheral to the highly designed set.

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  2. I was also very interested in the idea that because our perceptive mechanisms are adapted to nature, we wouldn't object to unnatural patterns in a work of art. A theme of this class could be the fact that we can perceive and recognize objects in paintings using the same mechanism we use to perceive and recognize objects in life, but we do not mistake those objects as real. Similarly, we can engage ourselves in a drama without ever mistaking the actors as really being the characters they portray. Do our brains have a built in seperation between the fabricated and the real? Or is the same mechanism being used to register and experience them both?

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