Egological meets ecological: Drawing aspects in perspective(s)

2021 ◽  
Vol 6 (2) ◽  
pp. 307-332
Author(s):  
Howard Riley ◽  
Robert Newell
Keyword(s):  
Visual Perception ◽  
School Curriculum ◽  
The Core ◽  
New Knowledge ◽  
Core Study ◽  
Perception Theory ◽  
Art School ◽  
Drawing Practice

Aspects of Edmund Husserl’s egological phenomenology and James J. Gibson’s ecological visual perception theory are construed dialectically for the purpose of informing the teaching of drawing, with an emphasis on understanding relationships between viewer positions and objects in the environment as represented through geometric projection systems. Such a grounding is conducive to a drawing practice capable of insights leading to new knowledge of our relationships with our environment, both egological and ecological, in an art school curriculum currently distorted by neo-liberal trends from the core study of visual perception and communication.

scholarly journals Perspective on Data Science

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Roger D. Peng ◽  
Hilary S. Parker
Keyword(s):  
Iterative Process ◽  
Data Science ◽  
Annual Review ◽  
Publication Date ◽  
Broad Definition ◽  
The Core ◽  
Fields Of Study ◽  
Points Of Interest ◽  
New Knowledge

The field of data science currently enjoys a broad definition that includes a wide array of activities which borrow from many other established fields of study. Having such a vague characterization of a field in the early stages might be natural, but over time maintaining such a broad definition becomes unwieldy and impedes progress. In particular, the teaching of data science is hampered by the seeming need to cover many different points of interest. Data scientists must ultimately identify the core of the field by determining what makes the field unique and what it means to develop new knowledge in data science. In this review we attempt to distill some core ideas from data science by focusing on the iterative process of data analysis and develop some generalizations from past experience. Generalizations of this nature could form the basis of a theory of data science and would serve to unify and scale the teaching of data science to large audiences. Expected final online publication date for the Annual Review of Statistics, Volume 9 is March 2022. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

scholarly journals A drawing learning support system based on the drawing process model

2014 ◽  
Vol 11 (2) ◽  
pp. 146-164
Author(s):  
Takashi Nagai ◽  
Mizue Kayama ◽  
Kazunori Itoh
Keyword(s):  
Support System ◽  
Process Model ◽  
School Curriculum ◽  
Skill Learning ◽  
Learning Support ◽  
Drawing Process ◽  
Content Type ◽  
Learning Support System ◽  
Digital Pen ◽  
Art School

Purpose – The purpose of this study is to explore a support system for beginners in drawing in a networked environment. Learners can receive advice and assessments from art experts without time and/or place constraints by using the proposed system. The authors investigate the possibilities of online supporting drawing learning. Two key factors are introduced: a digital pen as a drawing tool and a drawing process model (DPM). Design/methodology/approach – The major difference between an offline drawing class and an online drawing class is the availability of instruction during learners' drawing. The instruction for the learners' drawing process is more important than instructional comments for his/her work. Therefore, quick and personalized feedback from a tutor is an indispensable function for a networked learning environment. In this study, the learner's drawing process that is recorded by a digital pen is reused in order to replay and refer his/her drawing process. To generate an evaluation for the drawing process automatically, these data are also reused in the system the authors propose. Findings – The paper provides three findings. One is the DPM to capture learner's drawing features. Second is a drawing learning support system based on the DPM. And third is a feasibility study of the support system in a real art school. In this study, the learner's drawing process is reused in two evaluations. One is the tutors' evaluation, and the other is the system's evaluation. For the latter, the authors implemented the automated evaluation function based on the DPM. This model consists of three types of parameters. They are the drawing step, the drawing phase and the features of the drawing strokes. Research limitations/implications – Because of the art school curriculum, the authors cannot examine the learning effectiveness deeply. So the research results in this paper may lack generality. Therefore, researchers are encouraged to test the proposed approach further. Practical implications – The paper includes implication for the skill learning support based on the ICT. Originality/value – This paper fulfils an identified need to capture and support how drawing behaviour can be done.

scholarly journals LA PERSPECTIVE AÉRIENNE DE LÉONARD DE VINCI ET SES ORIGINES DANS L'OPTIQUE D'IBN AL-HAYTHAM (DE ASPECTIBUS, III, 7)

2009 ◽  
Vol 19 (2) ◽  
pp. 225-246
Author(s):  
DOMINIQUE RAYNAUD
Keyword(s):  
Visual Perception ◽  
General Theory ◽  
Psychological Factors ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
The Moon ◽  
Atmospheric Extinction ◽  
The Core ◽  
First Time ◽  
Aerial Perspective

AbstractThe concept of aerial perspective has been used for the first time by Leonardo da Vinci (1452–1519). This article studies its dependence on Ptolemy's Optica and overall on the optical tradition inaugurated by Ibn al-Haytham's Kitāb al-Manāẓir (d. after 1040). This treatise, that was accessible through several Latin and Italian manuscripts, and was the source of many Medieval commentaries, offers a general theory of visual perception emancipated from the case of the moon illusion, in which physical and psychological factors are closely combined. Atmospheric extinction (not refraction, which is sometimes confused with) affects the conjectured size of remote objects. This phenomenon is also the core source for a pictorial rendering of depth, that is based onto a principle different from the diminution of size.

Seeing into Drawing: Perception and Communication

2016 ◽  
Vol 4 (1-2) ◽  
pp. 57-71
Author(s):  
Howard Riley
Keyword(s):  
Communication Theory ◽  
School Context ◽  
Three Dimensional ◽  
Geometric Constructions ◽  
Art Students ◽  
Teaching Programme ◽  
Compositional Choices ◽  
Perception Theory ◽  
The Subject ◽  
Art School

The central theme of this article proposes that an amalgamation of aspects of visual perception theory and visual communication theory can inform the pedagogy of drawing in an art school context, and can empower the drawing practices of art students. The article explores James J. Gibson’s (1979) insights about how information contained within the structure of the arrays of light arriving at the eyes may be converted into geometric constructions used to represent our three-dimensional world upon a two-dimensional surface. The structure of these ambient arrays can be observed through three ways of seeing — modes of attention — that inform teaching strategies in the art school drawing studio. Roman Jakobson’s (1960) model of communication is introduced and adapted for use within a teaching programme that facilitates students’ understanding of how their compositional choices, informed by the three ways of seeing, and made in the process of drawing, can position viewers in terms of their mood and attitude towards the subject matter represented. These modes of attention are introduced to students as channels of vision through which they may focus upon levels of information pertaining to specific properties of the environment under observation. For example, we may notice some of the features of the constantly-changing arrays of light arriving at the eyes which afford us information about the nature of surfaces in the world — haptic values — softness, hardness, rigidity, plasticity. At another degree of abstraction, features affording information about our spatial position relative to surfaces and edges may be noticed: in general, the mode of attention tuned to information based upon distance-values. Some other features within the arrays of light relate to the interplay of line, shape, tone, texture and colour at the level of pattern and rhythm divorced from three-dimensional form: proximal values. The article is illustrated with student drawings and those of the author.

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