Perception: Difference between revisions
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The Beholder's Share highlights how each viewer actively completes an artwork. Sensory elements such as colours, patterns, shapes or scenic details initially shape our perception of the piece. However, top down processes, like prior expectations or learned associations, further refine our conscious vision. Certainty, perception involves the interpretation and integration of sensory stimuli and expectations, unlike sensing relying only on raw detection of stimuli.<ref name=":3">Seth AK. From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience. ''European Review''. 2019;27(3):378-410. doi:10.1017/S1062798719000061</ref> For this reason, can perception be seen as an active construction of experience, while sensing as a passive reception of information. Due to the heavy influential nature of context, information about the artist's life or familiarity with their work of art can dramatically shift interpretation, illustrating that viewer's knowledge and beliefs co-create an artwork's effect. Moreover, the artist's intentions often differ from those of the observer. This lack or conflict of context can completely redirect the emotional or intellectual experience of an artwork. Following this interplay between stimulus input and the observer's framework undermines the deeper principle, that perception emphasises a projection of one's internal model onto the external features to construct meaning. <ref name=":3" /> As a result, the physical properties of the artwork itself emerge as much as from the viewer's interpretive engagement. | The Beholder's Share highlights how each viewer actively completes an artwork. Sensory elements such as colours, patterns, shapes or scenic details initially shape our perception of the piece. However, top down processes, like prior expectations or learned associations, further refine our conscious vision. Certainty, perception involves the interpretation and integration of sensory stimuli and expectations, unlike sensing relying only on raw detection of stimuli.<ref name=":3">Seth AK. From Unconscious Inference to the Beholder’s Share: Predictive Perception and Human Experience. ''European Review''. 2019;27(3):378-410. doi:10.1017/S1062798719000061</ref> For this reason, can perception be seen as an active construction of experience, while sensing as a passive reception of information. Due to the heavy influential nature of context, information about the artist's life or familiarity with their work of art can dramatically shift interpretation, illustrating that viewer's knowledge and beliefs co-create an artwork's effect. Moreover, the artist's intentions often differ from those of the observer. This lack or conflict of context can completely redirect the emotional or intellectual experience of an artwork. Following this interplay between stimulus input and the observer's framework undermines the deeper principle, that perception emphasises a projection of one's internal model onto the external features to construct meaning. <ref name=":3" /> As a result, the physical properties of the artwork itself emerge as much as from the viewer's interpretive engagement. | ||
==== | ==== Dualism ==== | ||
Dualism proposes that perceiving is not an one dimensional outcome of physical processes in the brain, rather it involves a separate mental dimension which shapes our conscious experience. Accordingly the idea of Descartes argues that the mind is indeed a thinking substance distinct from the body's extended substance. While eyes, ears, and other organs receive physical data, our conscious perception exceeds these signals, and being therefore accountable for our intentional and subjective interpretation within our mental realm. For this reason, the dualism claims that physical explanations cannot resolve the pure nature of sensory experience. For instance, when viewing a striking painting, the sensation is tangled to the subjective awareness in a way, where no objective, third-person description of the painting's properties could evoke the same experience. Therefore, if mental events were only based on physical circumstances, then anyone using the right instruments could equally observe, yet first-person experiences resist sich observations. Nonetheless, whether the mental district is a separated substance or not, dualism demands that understanding true perception requires more than physical causation alone. <ref>Robinson, Howard. “Dualism.” ''Stanford Encyclopedia of Philosophy'', 2020, plato.stanford.edu/entries/dualism/.</ref> | |||
====Direct Realism==== | ====Direct Realism==== | ||