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Research has shown that people that are more creative in their imagery are better able to resolve ambiguous images. This may be due to their ability to quickly identify patterns in the image. [ 13 ] When making a mental representation of an ambiguous image, in the same way as normal images, each part is defined and then put onto the mental ...
The fully grown homunculus was supposedly greatly skilled in "art" and can create giants, dwarves, and other marvels, as "Through art they are born, and therefore art is embodied and inborn in them, and they need learn it from no one." [4] Comparisons have been made with several similar concepts in the writings of earlier alchemists.
Single images of personifications tend to be titled as an "allegory", arguably incorrectly. [11] By the late 20th century personification seemed largely out of fashion, but the semi-personificatory superhero figures of many comic book series came in the 21st century to dominate popular cinema in a number of superhero film franchises.
Satellite photograph of a mesa in the Cydonia region of Mars, often called the "Face on Mars" and cited as evidence of extraterrestrial habitation. Pareidolia (/ ˌ p ær ɪ ˈ d oʊ l i ə, ˌ p ɛər-/; [1] also US: / ˌ p ɛər aɪ-/) [2] is the tendency for perception to impose a meaningful interpretation on a nebulous stimulus, usually visual, so that one detects an object, pattern, or ...
The problem of exactly how these images are stored and manipulated within the human brain, in particular within language and communication, remains a fertile area of study. One of the longest-running research topics on the mental image has basis on the fact that people report large individual differences in the vividness of their images.
A version of Rubin's vase. The Rubin vase (sometimes known as Rubin's vase, the Rubin face or the figure–ground vase) is a famous example of ambiguous or bi-stable (i.e., reversing) two-dimensional forms developed around 1915 by the Danish psychologist Edgar Rubin.
In art and design, negative space is the empty space around and between the subject(s) of an image. [1] Negative space may be most evident when the space around a subject, not the subject itself, forms an interesting or artistically relevant shape, and such space occasionally is used to artistic effect as the "real" subject of an image.
In modern art-historical usage, the term tronie is typically restricted to figures not intended to depict an identifiable person, so it is a form of genre painting in a portrait format. Typically a painted head or bust only, concentrating on the facial expression, but often half-length when featured in an exotic costume, tronies might be based ...