{"title":"汤姆·汤姆逊群岛,独木舟湖,1916年:岩石像熊的头","authors":"J. Kennedy","doi":"10.1515/cogsem-2022-2008","DOIUrl":null,"url":null,"abstract":"Abstract Tom Thomson is a doyen of Canadian art. Here, I argue one of his well-known pictures contains a hidden figure. In Thomson’s Islands, Canoe Lake, 1916, a blue-gray picture primitive richly affords a rock and a bear, a long-overlooked ambiguity, one that Thomson did not tell us he intended. Its picture primitives are contours and patches. They offer a limited set of scene primitives. A likelihood ratio of less than 1 in 100 supports the contention that the bear is a hidden figure.","PeriodicalId":52385,"journal":{"name":"Cognitive Semiotics","volume":"65 1","pages":"75 - 92"},"PeriodicalIF":0.0000,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Tom Thomson’s Islands, Canoe Lake, 1916: a rock as the head of a bear\",\"authors\":\"J. Kennedy\",\"doi\":\"10.1515/cogsem-2022-2008\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract Tom Thomson is a doyen of Canadian art. Here, I argue one of his well-known pictures contains a hidden figure. In Thomson’s Islands, Canoe Lake, 1916, a blue-gray picture primitive richly affords a rock and a bear, a long-overlooked ambiguity, one that Thomson did not tell us he intended. Its picture primitives are contours and patches. They offer a limited set of scene primitives. A likelihood ratio of less than 1 in 100 supports the contention that the bear is a hidden figure.\",\"PeriodicalId\":52385,\"journal\":{\"name\":\"Cognitive Semiotics\",\"volume\":\"65 1\",\"pages\":\"75 - 92\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Cognitive Semiotics\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/cogsem-2022-2008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Cognitive Semiotics","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/cogsem-2022-2008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
Tom Thomson’s Islands, Canoe Lake, 1916: a rock as the head of a bear
Abstract Tom Thomson is a doyen of Canadian art. Here, I argue one of his well-known pictures contains a hidden figure. In Thomson’s Islands, Canoe Lake, 1916, a blue-gray picture primitive richly affords a rock and a bear, a long-overlooked ambiguity, one that Thomson did not tell us he intended. Its picture primitives are contours and patches. They offer a limited set of scene primitives. A likelihood ratio of less than 1 in 100 supports the contention that the bear is a hidden figure.