1. ART AND PERCEPTUAL EXPERTISE

2. Structure Applying principles of perception to art-making Why study representational drawing? How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena

3. Structure Applying principles of perception to art-making Why study representational drawing? How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena

4. John Ruskin: The Innocent Eye The whole technical power of painting depends on our recovery of what may be called the innocence of the eye; that is to say, of a sort of childish perception of these flat stains of colour, merely as such, without consciousness of what they might signify John Ruskin Art-making is returning to a ‘sensory core’ Seeing through schematic biases

5. Gibson – Direct Perception Sensation is perception Phenomena like optic flow give unambiguous evidence about the visual qualities of the environment

6. Mark Tansey ‘The Innocent Eye Test’

7. Ernst Gombrich: Schemata The artists’ dilemma: That of conjuring up a convincing image despite the fact that not one individual shade corresponds to what we call 'reality’ Ernst Gombrich Art-making is solving the inverse problem of vision

8. Gregory – Generative Perception Perception as hypothesis testing Unconscious inferences from sensory data (Von Helmholtz) Formation of incorrect hypotheses lead to errors in perception (and artistic effects!)

9. See through or seeing with schemata? Artistic schemata - attention and selection of features sufficient for depiction in a particular medium The sets of cues necessary for adequate depiction are culturally specific and not fixed

10. Art as caricature Average Stimulus Caricature

11. Rudolf Arnheim: Evolution of representation Children perceive the universal more readily than the particular In the field of art – and this is probably true also for the psychology of thinking – highly abstract forms appear at the most primitive stages Rudolf Arnheim Leo, Aged 2½

12. Abstraction

13. Structure Applying principles of perception to art-making Why study representational drawing? How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena

14. Why study drawing? Drawing represents a complex but tractable process Output comparable with original stimulus

15. Structure Applying principles of perception to art-making Why study representational drawing? How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena

16. How do we measure drawing ability? ‘Because there is no universal computer algorithm for comparing the accuracy of renderings with that being rendered, one must resort to using critics to judge the accuracy of a rendering.’(Cohen, 2005)

17. How do we measure drawing ability? Shape Analysis Determined set of coordinates on an image Measures shape accuracy but as yet no systematic way of measuring distortion or effects other than shape

18. Structure Applying principles of perception to art-making Why study representational drawing? How to quantify drawing ability Research connecting drawing ability and various perceptual phenomena

19. Drawing & Perception Visual Selection Visual Integration Perceptual Constancies Local Processing Ostrofsky et al (2011)

20. Drawing & Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

21. Drawing & Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

22. Drawing & Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

23. Drawing and Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

24. Drawing and Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

25. Drawing and Perception Visual Selection Visual Integration Perceptual Constancies Local Processing

26. Drawing and Attention Shifting Attention shifting. Local-global levels of processing GL switch LG switch

27. A link to visual flexibility? Ambiguity and attention shifts

28. Art-making is embodied Perception does not function in isolation Motor imagery used in patient DF in lieu of visual form recognition Anticipatory motor planning could be used by expert artists Changes in holistic processing may be related to sensorimotor experience

29. Conclusions Drawing and art-making a process of both seeing through and see with biases in perception Drawing ability linked to enhancements in perceptual processing, namely: visual selection, visual integration, perceptual constancies, local processing and attention switching Integrate this into an embodied framework – how does it relate to perceptual/sensorimotor expertise Chart the development of perceptual and conceptual skills throughout the lifetime of the artist to understand the role of innate ability and training