Little is known about how we perceive the size and shape of objects in far peripheral vision. Observations made during an artistic study of visual space suggest that objects appear smaller and compressed in the periphery compared with central vision. To test this, we conducted three experiments. In Experiment 1, we asked participants to draw how a set of peripheral discs appeared when viewed peripherally without time or eye movement constraints. In Experiment 2, we used the method of constant stimuli to measure when a briefly presented peripheral stimulus appeared bigger or smaller compared with a central fixated one. In Experiment 3, we measured how accurate participants were in discriminating shapes presented briefly in the periphery. In Experiment 1, the peripheral discs were reported as appearing significantly smaller than the central disc, and as having an elliptical or polygonal contour. In Experiment 2, participants judged the size of peripheral discs as being significantly smaller when compared with the central disc across most of the peripheral field, and in Experiment 3, participants were quite accurate in reporting the shape of the peripheral object, except in the far periphery. Our results show that objects in the visual periphery are perceived as diminished in size when presented for long and brief exposures, suggesting diminution is an intrinsic feature of the structure of the visual space. Shape distortions, however, are reported only with longer exposures.

To explain consciousness as a physical process we must acknowledge the role of energy in the brain. Energetic activity is fundamental to all physical processes and causally drives biological behavior. Recent neuroscientific evidence can be interpreted in a way that suggests consciousness is a product of the organization of energetic activity in the brain. The nature of energy itself, though, remains largely mysterious, and we do not fully understand how it contributes to brain function or consciousness. According to the principle outlined here, energy, along with forces and work, can be described as actualized differences of motion and tension. By observing physical systems, we can infer there is something it is like to undergo actualized difference from the intrinsic perspective of the system. Consciousness occurs because there is something it is like, intrinsically, to undergo a certain organization of actualized differences in the brain.

Which is the most accurate way to depict space in our visual field? Linear perspective, a form of geometrical perspective, has traditionally been regarded as the correct method of depicting visual space. But artists have often found it is limited in the angle of view it can depict; wide-angle scenes require uncomfortably close picture viewing distances or impractical degrees of enlargement to be seen properly. Other forms of geometrical perspective, such as fisheye projections, can represent wider views but typically produce pictures in which objects appear distorted. In this study we created an artistic rendering of a hemispherical visual space that encompassed the full visual field. We compared it to a number of geometrical perspective projections of the same space by asking participants to rate which best matched their visual experience. We found the artistic rendering performed significantly better than the geometrically generated projections.

Following its discovery in fifteenth-century Italy, linear perspective has often been hailed as the most accurate method of projecting three-dimensional visual space onto a two-dimensional picture plane. However, when we survey the history of European art it is evident that few artists fully complied with its mathematical rules, despite many of them being rigorously trained in its procedures. In this paper, we will consider how artists have actually depicted visual space, and present evidence that images created according to a “natural” perspective (NP) used by artists are judged as better representations of visual space than those created using standard linear (LP) and curvilinear fisheye (FP) projective geometries. In this study, we built a real three-dimensional scene and produced photographs of the scene in three different perspectives (NP, LP and FP). An online experiment in which we asked people to rank the perspectives in order of preference showed a clear preference for NP compared to the FP and LP. In a second experiment, participants were asked to view the real scene and rate each perspective on a range of psychological variables. Results showed that NP was the most preferred and the most effective in depicting the physical space naturally. We discuss the implications of these results and the advantages and limitations of our approach for studying the global metric and geometrical structure of visual space.

This paper addresses an issue that has been studied from both scientific and art theoretical perspectives, namely the dichotomous nature of representational artworks. Representational artworks are dichotomous in that they present us with two distinct aspects at once. In one aspect we are aware of what is represented while in the other we are aware of the material from which the representation is composed. The dichotomy arises due the incompatibility, indeed contradiction, between these aspects of awareness, both of which must be present if we are to fully appreciate the artwork. Examples from art history are given to show how artists have exploited this dichotomy in a way that conditions our response to their work. I hypothesise that the degree of manifest dichotomy in a work determines the strength of its aesthetic effect, and propose this could be experimentally tested. I conclude that scientific studies of aesthetic experience should take the dichotomous nature of artworks into account.