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Perception is the process by which we interpret and understand our sensory experiences in order to make sense of the world around us. It is a complex cognitive process that allows us to take in sensory information from our environment through our sense organs and translate it into a form that we can understand and respond to.
From further research, I have come across that there are some basic rules and principles that govern perception, which psychologists and neuroscientists have explored through various theories. Here are some key points to consider about perception:
Stimulation: Perception begins with stimulation, where our sensory receptors are engaged by stimuli in the environment.
Organization: Our brain organizes the information it receives, which involves arranging it into meaningful patterns.
Interpretation: The organized data is then interpreted based on past experiences, expectations, and cultural backgrounds.
Study.com. (2022). Available at: https://study.com/learn/lesson/stages-perception-overview-purpose.html.
The traditional knowledge that outlines the five basic senses—sight, hearing, smell, taste, and touch—provides a simplified framework for understanding how we interact with our surroundings. However, this model doesn't fully capture the complexity of our sensory experiences.
I have found out that beyond these well-known senses, we have additional faculties like the vestibular sense, which governs balance, thermoception for detecting changes in temperature, and proprioception, our innate awareness of our body's position and movement.
These additional senses play a crucial role in our perception, offering us a more nuanced appreciation of our environment. They reveal a sensory network that is more intricate and intertwined than previously acknowledged. As our knowledge deepens as humans, we recognize that our sensory perception is a composite and dynamic interaction, shaping our lived reality in multifaceted ways.
Cherry, K. (2019). How the perceptual process works with our environment. [online] Verywell Mind. Available at: https://www.verywellmind.com/perception-and-the-perceptual-process-2795839.
Big Think. (n.d.). Think you have only 5 senses? You’ve actually got about 14 to 20. [online] Available at: https://bigthink.com/surprising-science/think-you-have-only-5-senses-its-actually-a-lot-more-than-that/.
Here are some, but not all, of the Gestalt Principles. Used to help specify compound aspects of human perception.
Figure-Ground Organization: We tend to separate images into figure, which is the object of focus, and ground, which is the background.
Similarity: Objects that are similar tend to be grouped together in our perceptions.
Proximity: Items that are close to each other are often perceived as a group.
Continuity: Our brain prefers to see continuous patterns, rather than disjointed ones.
Closure: We tend to fill in gaps in information to perceive a complete image.
The Interaction Design Foundation. (n.d.). What are the Gestalt Principles? [online] Available at: https://www.interaction-design.org/literature/topics/gestalt-principles#:~:text=There%20are%20six%20commonly%20recognized.
Bottom-Up Processing: This is data-driven perception, where processing starts with the sensory input. It's about building up to perception from the individual pieces of sensory information.
Top-Down Processing: This is concept-driven perception, where our perceptions are influenced by our expectations and prior knowledge.
Drew (PhD), C. (2023). Top-Down Processing: Complete Guide for Students (2023). [online] helpfulprofessor.com. Available at: https://helpfulprofessor.com/top-down-processing/.
Our senses can adapt to constant stimuli over time, which means that we become less aware of a stimulus if it remains constant. For example, you might stop noticing the sound of traffic if you live on a busy street.
Residing in various locations such as Lewes near Brighton and Palmers Green in North London has broadened my understanding of the unique soundscapes that different communities experience. Living adjacent to a train line and the North Circular Road, I became intimately familiar with the constant hum of traffic and the rhythm of trains. Conversely, while near Brighton, my home was adjacent to the countryside, where the ambiance was filled with the melodic chirping of birds and the occasional sounds from farm animals—a stark contrast to the urban clatter. Over the course of a year, I grew accustomed to both environments. However, I found the natural sounds of the countryside, though less predictable, to be more soothing and enriching for the soul, especially when compared to the relentless, metallic grinding of machinery and vehicles, which felt hollow and unvarying.
Aside from adopting a plant-based diet some time ago, I also eliminated added sugar. This change brought about a noticeable shift in my taste perceptions, particularly with fruits. After just two weeks of focusing on whole foods, I found that all the fruit I ate tasted significantly sweeter than before. This experience highlighted how our senses can adapt and change based on our dietary choices, underscoring the dynamic nature of our sensory experiences.
We perceive objects as unchanging despite changes in the sensory input. For example, I would recognize a friend's face regardless of the lighting or angle from which we may see it.
Culture can influence perceptual processes, as can individual differences. For example, someone who grows up in a culture with lots of exposure to a particular type of pattern or shape might be more adept at recognizing that pattern or shape.
In an ever-changing environment, my attention is often geared towards impacting the areas within my reach, instead of stressing over aspects that are out of my control.
I've never been keen on watching the news, even though it was common in my family. My scepticism stems from a belief that local newspapers, which half a century ago may have reflected community-relevant information, have evolved. Nowadays, news about distant events often holds little direct relevance to my life, thus avoiding unnecessary anxiety.
I went vegan in 2017, which helped me recover from health issues. This change, also made me more aware of environmental impacts, influencing a project in my previous course on environmentalism. It's clear to me how individual experiences can shape one's work and perspectives.
A.U.M. Films (2014). WHAT THE HEALTH. [online] WHAT THE HEALTH. Available at: https://www.whatthehealthfilm.com/facts.
In terms of gathering information, especially in my field of work, I often turn to YouTube or LinkedIn for insights. For entertainment, I prefer curated content on platforms like Netflix, Disney, or BBC, steering clear of random TV shows. I place a high value on reliable, fact-checked, and peer-reviewed sources to avoid propaganda and media biases. This approach helps me stay informed and grounded in a world where information is abundant but not always accurate.
Our perception is not an exact replication of the world; it's our brain's best guess at interpreting the myriad of sensory information it receives. This is why optical illusions can trick our brains—they play with the rules of perception to create a mismatch between perception and reality. I came across the Penrose stairs in an optical illusion book as a child and was drawn to how our imagination plays tricks on us as we try to re-perceive 2D as 3D. This effect was also cleverly used in the Movie "Inception"
Wikipedia. (2020). Penrose stairs. [online] Available at: https://en.wikipedia.org/wiki/Penrose_stairs.
Wired. (n.d.). The Never-Ending Stories: Inception’s Penrose Staircase. [online] Available at: https://www.wired.com/2010/08/the-never-ending-stories-inceptions-penrose-staircase/.
The rapid advancement of virtual and augmented reality (VR and AR) technologies is reshaping our understanding of perception. These innovations offer new ways to experience and interpret our environment, deepening our insights into human behaviour and interaction.
A prime example of this evolution is the use of VR in animation. Animators using VR headsets can collaboratively create environments and animations in a virtual movie set. This combination of technology and teamwork allows for unprecedented precision in animation, moving beyond the traditional, often tedious methods to a more dynamic and intuitive approach.
apps.autodesk.com. (n.d.). Autodesk® Create VR for Autodesk® Maya® | Maya | Autodesk App Store. [online] Available at: https://apps.autodesk.com/MAYA/en/Detail/Index?id=3751509454670639690 [Accessed 28 Nov. 2023].
As an animator myself, I'm excited about the potential of VR to revolutionize our creative processes. While I haven't yet adopted VR, the prospect of designing and animating in a virtual space is tantalizing. It promises a more immersive and interactive way of storytelling, blurring the lines between the creator, creation, and the medium.
This shift towards VR and AR in animation is not just a technological upgrade; it's a fundamental change in how we perceive and engage with the creative process. In my blog in the future, I plan to explore this thrilling future, where technology transforms our artistic capabilities and redefines our interaction with the world of animation.
I was given a task to investigate and sketch new and fascinating places for a group project, which I elaborate upon in my Collaboration tab. During my previous experience with 3D modelling software like Blender, I created assets and buildings that, unintentionally, echoed dystopian sci-fi structures. It was a thrilling realization when, with my group, I stumbled upon the Lloyds Building in London; a real-life reference closely mirroring the aesthetic I was aiming for in my Blender projects. This discovery could significantly influence the designs I might create using Maya software provided by my university.
Captivating me with its complex and technical architectural style, the Lloyds Building has always been a source of inspiration. Since childhood, I was drawn to creating objects where the inner workings were visible, with a special interest in transparent contraptions that revealed the mechanics inside. This fascination extended to my affinity for mechanical and technical aesthetics, resonating with the style of the Lloyds Building and potentially shaping future projects.
Delving deeper into the Lloyds Building, I discovered that its architect, Richard Rogers, was also the mastermind behind the Centre Pompidou in Paris, France. The Centre Pompidou, a revered cultural institution, is a marvel of industrial design showcasing colourful pipes and structural elements on its exterior. This building houses an extensive collection of modern and contemporary art, embodying a fusion of aesthetic appeal and functional design.
Much like the Lloyds Building, the Centre Pompidou's architectural brilliance lies in its 'inside-out' structure, where functional elements are externalized, thus freeing up interior space. This design approach resonates with me as it aligns with my appreciation for revealing the functional aspects of a structure, making both buildings compelling study subjects for my design exploration.
This architectural philosophy of ‘function over form’ presents an interesting perspective that goes beyond the realm of design. It subtly challenges the conventional aesthetic norms, urging consideration of the intrinsic functional values over mere aesthetic appeal. It’s akin to an exaggerated scenario of a car's engine being so large that it defies being concealed under a bonnet, nudging one to acknowledge and value the engine - the heart of the vehicle. This philosophy, when extended to societal interactions, promotes the idea of valuing individuals for their abilities and contributions rather than superficial appearances, a notion that deeply resonates with me.
My fascination with these architectural styles may have roots in my upbringing with the Star Wars saga, the Alien franchise, and Transformers. The character or building styles in these universes bear a resemblance to the industrial, mechanical aesthetic seen in the Lloyds Building and the Centre Pompidou. The intertwining of form and function in these architectural marvels presents a rich source of inspiration as I progress in my design journey.
Colour wields a silent power in cinema, often becoming a character of its own. The hues that fill the screen do more than please the eye; they speak directly to the viewer's emotions, setting the tone and atmosphere of the story being told. From the warmth of a golden sunset to the starkness of a grey sky, colours influence our perception and can stir a profound emotional response within us. In the hands of a filmmaker like Wes Anderson, colour becomes an articulate language, a subtle yet potent narrative tool that shapes not just the visual tapestry of his films but also the psychological landscape of his characters and audiences alike.
Wes Anderson’s films are distinguished by a deliberate use of colour, where every hue serves a narrative purpose, shaping the emotional contours of his stories. This is not merely a stylistic choice but a layered storytelling device, with colours acting as silent indicators of his characters' inner journeys and the films' deeper themes.
In "The Royal Tenenbaums," the sepia-infused palette of browns, yellows, and amber-reds sets a nostalgic tone that complements the narrative. Each character’s personal colour code reveals more than their fashion sense; it mirrors their emotional states and relationships. Margot's association with yellow highlights her distinctiveness and complex individuality amidst the family's dynamic, while Chas’ persistent red attire is a visual marker of deeper psychological themes, potentially reflecting his sustained inner conflict and the raw intensity of his experiences.
Potterton, C.J. (n.d.). A Visual Analysis of Wes Anderson’s The Royal Tenenbaums | FUSION. [online] Available at: https://www.fusionmagazine.org/a-visual-analysis-of-wes-andersons-the-royal-tenenbaums/.
In "The Life Aquatic with Steve Zissou," the blue uniforms of the crew visually unite them on their ocean journey. The film's commentary highlights the importance of emotional moments, and Anderson's use of red often points to deep emotions and trauma. The colour red may subtly reveal the complex stories of the characters, matching Anderson’s use of red in his other movies.
PERSPEX. (2019). Colour in Film - The Work of Wes Anderson. [online] Available at: https://www.per-spex.com/articles/2019/5/28/colour-in-film-the-work-of-wes-anderson.
Anderson’s rich colour choices are captivating and carry strong themes, helping to express social dynamics, character development, and the nuances of human connections. His thoughtful mix of warm and cool shades showcases his skill in drawing out a range of emotions, from comfort to deep sadness, and underscores his command of colour as a form of storytelling.
Ultimately, Anderson’s clever and balanced colour designs create scenes that feel both nostalgic and perfect, yet are filled with emotional layers that address the complexities of life in a striking visual way.
My study into how colour is used in film to affect emotions and themes has grown my understanding and assurance in using colours not just for style but as symbols themselves. They add depth, enrich the story, and help push the narrative forward.
"Days of Heaven," directed by Terrence Malick, is a visual tribute to the power of lighting in storytelling. The film is notable for its use of natural light, capturing scenes in the soft glow of twilight hours. This decision creates a realistic ambiance that aligns closely with the narrative’s tone, where dimly lit moments draw the viewer in, making the experience feel genuine. Such deliberate shadows enhance the film's mood, allowing the story's unfolding to resonate deeply with viewers. The lighting not only grounds the story in a believable world but also complements the emotional journey of the characters, proving that careful attention to visual elements like lighting can profoundly affect the film’s impact.
Schlackman, S. (2023). 5 Visually Stunning Movies Inspired by Fine Art Masterpieces - art journal. [online] Available at: https://artrepreneur.com/journal/visually-stunning-movies/ [Accessed 27 Nov. 2023].
Shape language in film, much like in animation and other visual arts, utilizes the psychological and emotional effects of geometric shapes to enhance storytelling. Circles, often associated with softness, wholeness, and a maternal aspect, convey a sense of innocence and friendliness, which can be seen in the rounded forms of many heroic animated characters. Squares bring a sense of stability and man-made structure, evoking feelings of strength or stasis, as seen in characters like Carl from "Up," whose boxy appearance emphasizes his initial isolation, possibly stuck in his ways. Triangles are dynamic; with their points and angles, they can suggest conflict, tension, and aggression. They are often used in the portrayal of villains. Yet, when inverted, they may also represent stability and power, like mountains or pyramids.
In live-action films, these shapes are used subtler but still effectively, creating a dynamic visual narrative that can alter the viewer's emotional response and perception of the story. For example, a film might use the claustrophobia of angular spaces to heighten tension or employ soft, rounded backdrops to create a sense of calm.
By understanding and observing how shape language is employed across different types of cinema, viewers can gain a deeper appreciation of how filmmakers craft their stories, not just through dialogue and action, but through the very shapes that make up the visual world of the film.