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Event 2 - Tangent Contemporary Art Gallery





I visited the Tangent Contemporary Art Gallery in downtown San Francisco. One of their ‘reverspective’ window pieces caught my eye and inspired me to further explore the type of art in their gallery.


From the curator, I learned that stimulus like light, and environment, wall color, may influence greatly how the art is perceived. In my previous psychology class on sensation and perception,  different visual cues can alter the focal image, thus it makes sense that the environment is very important and needs to be considered for a ‘reverspective’ art piece. Additionally, there is research that supports the fact that the absence of specific painted cues can affect how the art piece is perceived (Papathomas 525).

This art exhibit inspired me to make lots of connection my major of psychobiology. The concept of binocular cues is important in viewing the art at this gallery. If I closed one eye, the perceived image will lose the aspect of depth. Binocular disparity is the result of this, and often times we need visual information from both our eyes to view pieces like Hughes’ ‘reverspectives’ (Rogers & Gyani 342).

Then there were pieces like the face that looked like it had lots of depth, but it was in fact a lot more flat than I expect. This is due to relative visual depth. In my experience, human faces have a certain depth and size, and thus when given the proper focal image, I will assume so (Rogers & Graham 134).

Overall, it was a very cool experience to see how perception plays in such well thought out art.

Sources:

Papathomas, Thomas V. "Experiments on the role of painted cues in Hughes's reverspectives." Perception 31.5 (2002): 521-530.

Rogers, Brian, and Maureen Graham. "Motion parallax as an independent cue for depth perception." Perception 8.2 (1979): 125-134.

Rogers, Brian, and Alex Gyani. "Binocular disparities, motion parallax, and geometric perspective in Patrick Hughes's ‘reverspectives’: Theoretical analysis and empirical findings." Perception 39.3 (2010): 330-348.

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