Abstract
This historical perspective identifies theoretical and graphical parallels between two unlikely accomplices: the mid-twentieth-century multidisciplinary movement the Situationist International, and developments in the psychological study of eye movements. Both schools of thought approach the ostensible objectivity of the visible world through a deconstructed and personalized interpretation made possible by our perception. Especially in regard to aesthetics, our perceptual biases enable an agency through which everyone can participate and ultimately enrich the dialogue that provisions art with meaning. Diagrams of eye-tracking studies inspired by early Situationist graphics highlight the piecemeal and constructive nature of our perception. In the context of unprecedented AI image generation, with aesthetic creativity itself being questioned, the text offers a graphic-based reminder of the value and creativity of our perception.