Die doel van die tesis is om vas te stel of skilder die skilder se
visuele waameming beinvloed. In die eerste plek om hierdie
stelling te bewys, moet kousaliteit bewys word. Twee moontlikhede
van kousaliteit bestaan. Die eerste moontlikheid wat oorweeg word
is dat skilder die kunstenaar se visuele waameming beinvloed. As
voorbeeld word Pablo Picasso se 'Guemica' bespreek. Hierdie
skildery word deur die kunstenaar ervaar as 'n geldige visuele
weergawe van die realiteit al is dit nie 'n realistiese weergawe van
die gebeurtenis nie. Die tweede moontlikheid van kousaliteit wat
oorweeg is, is dat die skilder visuele waarneming gebruik om die
werklikheid te interpreteer. As voorbeeld word Hendrik Piemeef se
werk bespreek.
In die tweede plek word die ooreenkomste tussen skilder en visuele
waameming ondersoek om te bepaal of analogiese gevolgtrekkings
gemaak kan word ten opsigte van visuele waarneming deur middel
van 'n studie van skilder. Ooreenkomste word gevind tussen die
strukturele elemente van visuele waameming en die formele
eienskappe van skilder. Albei bestaan uit lig, kleur, diepte en vorm.
Verskille tussen die strukturele elemente van visuele waarneming
en die formele eienskappe van skilder, behels die moontlikede vir
interpretasie wat uitgeoefen word of nie noodwendig uitgeoefen
word nie. Dus: wanneer die kunstenaar 'n voorwerp waarneem en
die formele eienskappe aanwend om 'n skildery te maak, ervaar hy
dit as 'n geldige interprestasie van die werklikheid. In kotras is die
reaksie op die strukturele eienskappe van visuele waameming 'n
fisiologiese proses en die waamemer is nie noodwendig bewus van
'n interpretatiewe proses nie.
'n Historiese oorsig van die ontwikkeling van skilder en die
ontwikkeling van teoriee van visuele waameming word gegee. Elke
era maak 'n bydrae ten opsigte van die analogie wat getref word
tussen die twee onderwerpe.
Die teorie van visuele waameming wat waameming beskryf as
gefragmenteerd, is sentraal tot die skripsie. Aspekte van
samevoeging ten opsigte van gefragmenteerde waameming word
analogies aan die skilderkuns se integrasie van die formele
eienskappe, onthaal.
Die spekulatiewe sienings van Goldman-Rakic en Peterson ten
opsigte van samevoeging in visuele waameming word vergelyk met
die eienskappe van samevoeging wat analogies uit die skilderkuns
afgelei is.
Hierdie skripsie se gevolgtrekking is dat samevoeging in die skilder
se visuele waameming 'n aktiewe sentrale meganisme is wat nierelevante
detail uitskakel. Peterson se siening word dus
ondersteun. Die bydrae van hierdie skripsie is dat eienskappe van
binding in die skilder se visuele waarneming deur aspekte van die
skilderkuns beskryf word. So is een aspek van die skilderkuns,
naamlik die wisseling in die volgorde van die formele eienskappe,
deurslaggewend in skilder en die konsep is analogies toegepas in
visuele waameming. Hiervolgens word fisiologiese visuele
waameming beskryf as 'n visuele gebeurtelikheid of die gevolge
van sekere omstandighede soos wat 'n skildery 'n gebeurlikheid is
wat omstandighede weerspieel.
.
The aim of this thesis is to determine if painting can influence the
painter's visual perception. The nature of the research is
exploratory. The possibility of causality needs to be proven. Two
possibilities of causality exist. The first possibility is that painting
can influence the artist's visual perception. Pablo Picasso's
'Guemica', for example, is experienced as a valid visual
representation of reality by the artist although it is not a realistic
depiction of the event. The second possibility is that the painter
uses visual perception to interpret reality.
The similarities between painting and visual perception are
explored to determine if analogous inferences regarding visual
perception can be made from a study of painting. Similarities are
found between the structuring elements of visual perception and
the formal properties of painting. Both the structuring elements
and the formal properties consist of light, colour, depth and shape.
Differences between the structuring elements of visual perception
and the formal properties of painting are found in the interpretative
possibilities that exist or does not necessarily exist. When the artist
looks at a subject and applies the formal properties to make a
painting he experiences this as being a valid interpretation of
reality. In contrast the reaction to the structuring elements of
visual perception is a physiological process and the viewer need not
necessarily be aware of the interpretative process.
Historical overviews regarding the development of painting and the
development of theories of visual perception are given. Each
historical era added elements to the field of visual perception and
painting that contribute to an analogy between the two subjects.
The similarities between visual perception and painting warrant an
analogy between the two. Recent advances in the study of visual
perception exposed the fractured nature of visual perception. This
poses the problem of binding in the visual perceptual process.
Analogous inferences drawn from painting regarding the binding
mechanism in visual perception, favour one researcher's point of
view rather than another's.
The viewpoint held in this thesis is that painting influences the
visual perception of the artist. The artist seeks meaning through
visual perception. Painting necessitates visual differentiation and
choice. Imaginative value is added to visual perception through the
choices made by the painter in his depiction. This viewpoint is not
valid when visual perception does not seek meaning.
The particular contribution of this thesis as far as the artist is
concerned lies in the analogy that can be drawn through
physiological visual perception as a consequential perceptual
happening and the consequential construction of paintings.
