A semiotic model of visual perception
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Robert M. Cantor
Robert M. Cantor (b. 1936) is a diagnostic radiologist (retired) 〈robert.m.cantor@gmail.com〉. His research interest is the semiotics of perception. His publications include “Foundations of Roentgen semiotics” (2000); “Formation of interpretants in Roentgen semiotics” (2011); and “Vision science: An empirical basis for Roentgen semiotics” (2012).
Abstract
In this study, we construct a general semiotic model representing the physiological and mental processes involved in visual perception. The model has the form of an ordered typology of perceptual processes, where the ordering is determined by the Peircean categories of thought. This method of semiotic modeling is then applied to the specific mental processes involved in the perception of camouflage and visual illusions. The typology of visual illusions includes a unified explanation for the perception of static visual illusions that is based on semiotic principles.
About the author
Robert M. Cantor (b. 1936) is a diagnostic radiologist (retired) 〈robert.m.cantor@gmail.com〉. His research interest is the semiotics of perception. His publications include “Foundations of Roentgen semiotics” (2000); “Formation of interpretants in Roentgen semiotics” (2011); and “Vision science: An empirical basis for Roentgen semiotics” (2012).
©2014 by Walter de Gruyter Berlin/Boston
Articles in the same Issue
- Frontmatter
- A semiotic model of visual perception
- Art, science, and value as found in Peirce's ten trichotomies
- Reforming visual semiotics: The dynamic approach
- An early semiotic
- “Language as calculus” in Beckett's writing: A new perspective on Beckett's conception of language
- Media representations of science, andimplications for neuroscience and semiotics
- Ubiquitous but arbitrary iconicity
- Nation and globalization as social interaction: Interdiscursivity of discourse and semiosis in the 2008 Beijing Olympics' opening ceremony
- Documentary evidence as hegemonic reconstruction
- Semiotic resources of music notation: Towards a multimodal analysis of musical notation in student texts
- The semiotics of undesirable bodies: Transnationalism, race culture, abjection
- A socio-semiotic framework for the analysis of exhibits in a science museum
- Indefinite identity: The masked terrorist as iconic legisign
- The segmentation of phenomenological space in Licheń as an example of double binds
- Wine labels in Austrian food retail stores: A semiotic analysis of multimodal red wine labels
- Exploring the rhetorical semiotic brand image structure of ad films with multivariate mapping techniques
Articles in the same Issue
- Frontmatter
- A semiotic model of visual perception
- Art, science, and value as found in Peirce's ten trichotomies
- Reforming visual semiotics: The dynamic approach
- An early semiotic
- “Language as calculus” in Beckett's writing: A new perspective on Beckett's conception of language
- Media representations of science, andimplications for neuroscience and semiotics
- Ubiquitous but arbitrary iconicity
- Nation and globalization as social interaction: Interdiscursivity of discourse and semiosis in the 2008 Beijing Olympics' opening ceremony
- Documentary evidence as hegemonic reconstruction
- Semiotic resources of music notation: Towards a multimodal analysis of musical notation in student texts
- The semiotics of undesirable bodies: Transnationalism, race culture, abjection
- A socio-semiotic framework for the analysis of exhibits in a science museum
- Indefinite identity: The masked terrorist as iconic legisign
- The segmentation of phenomenological space in Licheń as an example of double binds
- Wine labels in Austrian food retail stores: A semiotic analysis of multimodal red wine labels
- Exploring the rhetorical semiotic brand image structure of ad films with multivariate mapping techniques
