Aaron Hertzmann
@aaronhertzmann.com
3.4K followers 270 following 200 posts
www.dgp.toronto.edu/~hertzman
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Here's my the talk for the #SIGGRAPH 2024 Computer Graphics Achievement award, about my experiences in painting, computer graphics and the science of art. And how so much art and research are unplanned and unpredictable.
www.youtube.com/watch?v=ehgj...
aaronhertzmann.com/2024/08/19/j...
SIGGRAPH 2024 Award Talk: My journey in art and computing (so far)
YouTube video by Aaron Hertzmann
www.youtube.com
For me, relating my drawings to scientific theories of drawing happens after drawing, not during ("what did I do?"), but it has really enriched my drawing practice and also inspired nearly all of my published research in the past 5 years.
psyarxiv.com/pq8nb
Fascinating paper argues that (roughly) consciousness theories are untestable and unverifiable, and so instead they are selected to fit our moral preferences and preconceptions.
Consciousness science as a marketplace of rationalizations

my commentary on @smfleming.bsky.social and @matthiasmichel.bsky.social's thought-provoking BBS paper, and more generally about the field.

osf.io/preprints/ps...
OSF
osf.io
He does seem to agree that GenAI is the latest stage in this
culture.ghost.io/genai-is-our...
IIRC @wdavidmarx.bsky.social's explanation is that internet virality prevents subcultural movements the time they need to gestate away from the mass media limelight. It might be that the 20th century was a time of abnormal cultural productivity, with just the right amount of mass media.
"People don't make good pop music anymore like they did in the 1950s, it went bad after that"
aaronhertzmann.com/2022/12/16/s...
In _Status and Culture_ (chapter 10), W David Marx summarizes claims of cultural stasis from the 2010s due to Internet culture. But I think, whenever one thinks "nothing has moved me lately," the first question to ask is "is it me?" It gets harder to appreciate new culture as you get older.
Personally I follow a stronger rule: do not mention the authors at all in the review. I don't think it's necessary to be that strict but I think it is better.
Hmm, I wonder if my work would be a fit, since it directly relates to the nature of mental imagery and representations of space and pictures. Not sure whether I can make it to Cambridge in April though. bsky.app/profile/aaro...
Here's a recording of my talk on how perspective works! If you're interested in learning about how picture perspective works in human vision, this is the video to watch. #visionscience
www.youtube.com/watch?v=eamc...
Picture Perspective and Our Eyes
YouTube video by Aaron Hertzmann
www.youtube.com
Thanks to the artist Tom White for pointing me to this essay! end+2/
Even so, I am grateful for recorded music should not have been invented, and could not give up all the new kinds of music that it enabled, from musique concrète and tape loops (Beatles and Pink Floyd) to hip-hop (Grandmaster Flash, Public Enemy) to electronic music (Amon Tobin) and much more. end+1/
Maybe I shouldn't have mentioned TVs. It used to be stereos and radios. The point is that most of our music listening now is, passive and solitary. We still have live music, and amateur musicians, but, for most of us, they're a much, much, much smaller part of modern life.
In fact, Sousa's own band made a lot of money on recordings, and he himself had profited from reusing Gilbert and Sullivan's work without compensation. He wildly overstated the case claiming that recorded music has no soul, but also correctly predicted some things we've lost. end/
Sousa's third point—and the real reason for the essay—is that recording robs composers of money from their compositions. At the time, there was no copyright law governing licensing for composers, and his essay was part of a successful campaign to create one. He also testified before congress. 5/
In Sousa's day, the piano was the social center of many homes, saloons, and taverns. When I grew up, the center of the living room was usually a television. 4/
But he also correctly predicted a decline of social music-making. People used to make music together as a social activity much more than now, when so much of our entertainment is passive. But social music-making is probably the reason we have music at all. 3/
It's easy to mock the ridiculous claims that people once made about new artistic technologies, like Sousa's bonkers claims that recorded music lacks soul and would no longer inspire new musicians, and would turn kids into robotic phonographs. 2/
More research is needed to understand size perception, but it seems to be partly contextual, partly related to visual angle (i.e., no focal length compensation).
jov.arvojournals.org/article.aspx...
scholar.archive.org/work/eyreite...
Here's a recording of my talk on how perspective works! If you're interested in learning about how picture perspective works in human vision, this is the video to watch. #visionscience
www.youtube.com/watch?v=eamc...
Picture Perspective and Our Eyes
YouTube video by Aaron Hertzmann
www.youtube.com
Reposted by Aaron Hertzmann
Great to present my work "Five Illusions Challenge Our Understanding of Visual Experience" at the European Conference on Visual Perception (#ECVP2025)

Project Website + Preprint in link below 👇

@ecvp.bsky.social @italianacademy.bsky.social @zuckermanbrain.bsky.social
Paul Linton, ECVP 2025: "Five Illusions Challenge Our Understanding of Visual Experience"
YouTube video by Kriegeskorte Lab
www.youtube.com
Here is my commentary on @ruthrosenholtz.bsky.social's BBS paper. I point out deep parallels between topics in 2D and 3D human vision that are usually studied separately: summary statistics and attention in 2D, and 3D vision. This suggests studying them together. psyarxiv.com/dz3rx_v2
OSF
psyarxiv.com