Steven Pinker -- How the Mind Works - Hampshire High Italian ...

The Meaning of Life 527parts of the world that contain solid objects or that have been shaped bymotion, tension, gravity, and cohesion. A swath of the visual field sprinkledwith repetitions of a pattern usually comes from a single surface inthe world, like a tree trunk, a field, a rock face, or a body of water. A hardboundary between two regions usually comes from one surface occludinganother. Bilateral symmetry almost always comes from animals, partsof plants, or human artifacts.Other patterns that we find pretty help us to recognize objects bytheir three-dimensional shapes. Frames of reference are fitted ontobounded, elongated shapes, onto symmetrical shapes, and onto shapeswith parallel or near-parallel edges. Once fitted, the shapes are mentallycarved into geons (cones, cubes, and cylinders) before being matchedagainst memory.All of the optimal geometric features for visual analysis that I havelisted in the last two paragraphs are popular in visual decorations. Buthow do we explain the overlap? Why is the optimal feedstock for visualprocessing pretty to look at?First, we seem to get pleasure out of looking at purified, concentratedversions of the geometric patterns that in dilute form give us pips ofmicrosatisfaction as we orient ourselves toward informative environmentsand fine-tune our vision to give us a clear picture of them. Thinkof the annoyance you feel when a movie is out of focus and your reliefwhen the projectionist wakes up and twiddles the lens. The fuzzy pictureresembles your own retinal image when you are not properly accommodatingthe lens of your eye. The dissatisfaction is the impetus to accommodate;the satisfaction tells you when you have succeeded. Bright,crisp, saturated, contrasty images, whether from an expensive televisionset or from a colorful painting, may exaggerate the click of pleasure weget when we have adjusted our eyes properly.And it is frustrating, even frightening, to gaze at a scene in poor viewingconditions—far away, at night, or through haze, water, or foliage—and be unable to make head or tail of it, not knowing, for example,whether something is a hole or a bump or where one surface leaves offand another begins. A canvas that is cleanly divided into solid shapes andcontinuous backgrounds may exaggerate the reduction of anxiety weexperience when we find viewing conditions that resolve the visual fieldinto unambiguous surfaces and objects.Finally, we find some parts of the world snazzy and other parts drearyto the extent that they convey information about improbable, informa-