Back to Festschrift for Naomi Weisstein Chapter 11: The role of ground features in the perception of figure-ground and subjective contours. Figure 1. Mick Namarari Tjapaltjarri. Untitled, 1998, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 2. Gaiyabidja Lalara. Untitled, 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 5. See text for comments. Mawalan Marika, The Wagelag Sisters, 1948, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 6. The lines on the ground areas follow the shapes of the figures and their connections. Warlimpirrnga Tjapaltjarri, Dingo Dreaming, 1988, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 7. The brown and orange ground areas have delineations parallel to the edges of the figures. Pinta Pinta Tjapanangka, Tingari dreaming at YaruYaru c 1978, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 8. Deliberately disordered ground makes figures difficult to discern. Mawalan Marika, Tribesmen at sea and land, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 9. Nested occlusions convey a sense of distance such as for the birds on the upper left and lower right. Mawalan Marika, Yalangbara, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 10. Nested occlusions of red "bulls eye" figures combined with a size gradient give rise to a sense of their motion in depth. Shorty Lungkata Tungurrayi, Men travelling in a bush fire 1972-1973, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 11. Marabinyin, Mullet fish totems, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 12. Peter Mondjingu, Emu, c 1970s, © estate of the artist licensed by Aboriginal Artists Agency Ltd. Figure 13. Yirawala, Mosquito dance, 1976, © estate of the artist licensed by Aboriginal Artists Agency Ltd.
