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This research subjected the visual rightness theory of picture perception to experimental scrutiny. It investigated the ability of adults untrained in the visual arts to discriminate between reproductions of original abstract and representational paintings by renowned artists from two experimentally manipulated less well-organized versions of each art stimulus. Perturbed stimuli contained either minor or major disruptions in the originals' principal structural networks. It was found that participants were significantly more successful in discriminating between originals and their highly altered, but not slightly altered, perturbation than expected by chance. Accuracy of detection was found to be a function of style of painting and a viewer's way of thinking about a work as determined from their verbal reactions to it. Specifically, hit rates for originals were highest for abstract works when participants focused on their compositional style and form and highest for representational works when their content and realism were the focus of attention. Findings support the view that visually right (i.e., "good") compositions have efficient structural organizations that are visually salient to viewers who lack formal training in the visual arts.

Participants rated the dynamic quality of a set of twelve-element nonrepresentational or abstract visual designs each composed of one of four types of triangles or four types of quadrilaterals. We investigated the contribution to the perceived or implicit dynamics of the design of the four factors edge alignment of compositional elements, physical weight distribution about the horizontal axis, activity directions within the designs, and type of compositional element. It was found that edge alignment of elements was the most influential factor contributing to the dynamics both of triangle and of quadrilateral designs. In addition, dynamics was found to be positively correlated with the number of perceived activity directions within both types of stimuli. Triangle designs, but not quadrilateral ones, with greater structural weight above the horizontal axis were rated as more dynamic. Results suggest that implicit dynamics of nonrepresentational designs arises from a percept based on a global spatial analysis of the stimulus characteristics studied.

The influence of local and global attributes of symmetric patterns on the perceptual salience of symmetry was investigated. After tachistoscopic viewing, subjects discriminated between symmetric and either random patterns (experiment 1) or their perturbed counterparts (experiment 2) created by replacing one third of the mirror element-pairs of symmetric stimuli with 'random' elements. In general, it was found that perceptibility of symmetry, measured by response time and detection accuracy, was not influenced in a consistent way by type of pattern element (dots or line segments oriented vertically, horizontally, obliquely, or in all three orientations about the symmetry axis). Nor did axis orientation (vertical, horizontal, oblique), advance knowledge of axis orientation, practice effects, or subject sophistication differentially affect detection. A highly salient global percept of symmetry emerged, on the other hand, when elements were clustered together within a pattern, or grouped in symmetric pairs along a single symmetry axis or two orthogonal axes. Results suggest that mirror symmetry is detected preattentively, presumably by some kind of integral code which emerges from the interaction between display elements and the way they are organized spatially. It is proposed that symmetry is coded and signalled by the same spatial grouping processes as those responsible for construction of the full primal sketch.

Sighted subjects (n = 15) assembled 6-piece jigsaw puzzles under four conditions of visual-haptic perception which both separated these perceptual systems and required the simultaneous use of vision and touch. The time required and haptic scanning strategies used to assemble the puzzles in each of the four conditions were examined to determine the influence of type of visual involvement upon haptic encoding processes and the degree to which the visual and haptic systems are linked. Results indicate that a cognitive component is involved during visual-tactual form perception which affects how the perceptual modalities work together and how information is selected, encoded, and processed. When vision and touch were used simultaneously to examine the same stimulus, and visual information was adequate for responding, vision dominated touch. However, in conditions of visual-haptic perception in which visual input was inadequate for responding or when haptic perception was independent of vision, subjects relied upon a form of information which was specifically tactual in nature and independent of visual or verbal recoding.