1. Complete the reading and activities for this lesson
|Stimulus||chemicals in the air||body position in space|
|Receptors||pressure, warmth, cold, pain|
|Location of Receptors||semicircular canals|
|Basic Elements of Perception||sweet, sour, salty, bitter|
2. A circus entertainer uses many sensory cues when performing. Write a paragraph describing three senses that circus entertainers rely on and explain why each is important.
1. Choose an appropriate painting by a notable artist representing at least three uses of monocular cues.
3. Properly cite your reference painting with artist’s name, title of the painting, year of painting’s creation, and retrieval site.
4. Next, choose another separate appropriate painting by a notable artist representing at least two Gestalt principles of organization.
5. In a structured paragraph, describe how the artist uses the Gestalt principles in the painting.
6. Properly cite your reference painting with artist’s name, title of the painting, year of painting’s creation, and retrieval site.
How Part 2 Answer Should Look Like (example):
Seurat, Georges (1884-1886) Sunday Afternoon on the Island of La Grande Jatte. Retrieved from Wikimedia Commons: http://commons.wikimedia.org/wiki/File:Georges_Seurat_-_Un_dimanche_apr%C3%A8s-midi_%C3%A0_l’%C3%8Ele_de_la_Grande_Jatte.jpg
Image: Public Domain, via Wikimedia Commons
“Sunday Afternoon on the Island of La Grande Jatte” by Georges Seurat utilizes the monocular cues of atmospheric perspective, interposition, relative size, and linear perspective to create a sense of depth within the painting. The figures in the foreground are painted sharper with more distinct forms compared to the hazy trees and people in the background. This gives the impression of distance between the figures. Likewise, the man with the red vest and moustache in the lower left of the painting is obscuring the bodies of the man with a top hat and woman sitting on the grass. This interposition provides the perception that the red vested man is closer to the observer than the other two individuals. Seurat also uses relative size as a cue for depth by painting the images in the foreground much larger compared to the individuals in the background. Larger figures are interpreted as closer to the observer of the painting compared to the distant smaller figures. Finally, the observer gets a sense of depth from the linear perspective of the shoreline’s convergence towards the background of the painting. It feels as if the grassy area extends off into the distance.