Generating and Recognizing Images Created by Time and Space by Sup Lee

Perspective and Spatial Perception Perspective (techinique)

GENERATING AND RECOGNIZING IMAGES CREATED BY TIME AND SPACE UNIVERSITY OF APPLIED SCIENCES AND ARTS NORTHWESTERN SWITZERLAND ACADEMY OF ARTS AND DESIGN, VISUAL COMMUNICATION INSTITUTE MASTER OF ARTS IN VISUAL COMMUNICATION AND ICONIC RESEARCH MENTORS: Prof. Philipp Stamm, Dr. Invar-Torre Hollaus, Leander Eisenmann MASTER THESIS 2013 BY Jang Seop Lee

Perspective and Spatial Perception Perspective (techinique)

Abstract

Focusing on the process of image creation, this thesis investigates ways of composing images through and in a spatial setting. By applying visual elements to a three-dimensional space, we can reflect on the human perspective. In this approach, the position, eye level, and angle of the beholder are themes that can be addressed in the design process. In addition, it can be inferred and analyzed to what extent visual elements such as dots, geometrical lines, abstract strokes, volume, and mass depend on the beholderâ&#x20AC;&#x2122;s perspective. Finally, the ultimate goal of this thesis is to construct an image-making tool, which can remove the limitation of fixed perspective. Additionally, it also aims to provide an open perspective for the audience.

Perspective and Spatial Perception Perspective (techinique)

Table of Contents

11 PREFACE Introduction Inspiration 15

PERSPECTIVE AND SPATIAL PERCEPTION Perspective (technique) - Linear Perspective - Aerial Perspective Perspective (viewing) and Visual Perception - Spatial Perception - Depth Perception

USE OF PERSPECTIVE AND SPATIAL PERCEPTION IN ART HISTORY Before the Invention of Perspective Perspective in Representations of Reality Multiple Perspectives in Objective Paintings Multiple or No Perspectives in Non-Objective Paintings

PROJECT OVERVIEW Precise Question Related Theory and Practice – Multiple Perspectives of Cubism Related Theory and Practice – A case study of Proun by El Lissitzky Possible Suggestions

PROJECT PLAN IN DETAIL : DESIGNING A MODEL Structure - 2.5 Dimensions by Layering Content - Simple Geometrical Form Medium â&#x20AC;&#x201C; Analogue and Digital

PRACTICAL EXPERIMENTS Comparison between System and Abstraction - Computer Generated, Geomantic Element in Systematic Composition - Handmade, Non-Figurative Elements in Abstract Composition Applying Patterns and Texture Extra Experiment - Applying Colors - Typography as Input Providing Perspective for the Audience Positioning and Framing

CONCLUSION

79 REFERENCES Endnotes Bibliography Image Sources 85

DESIGN PROCESS DOCUMENTATION

Perspective and Spatial Perception Perspective (techinique)

PREFACE

INTRODUCTION INSPIRATION

Perspective and Spatial Perception Perspective (techinique)

Introduction

We live with images every day and use them for many different purposes. The main purpose of using images is to deliver a direct message, i.e. to communicate. We can also use images in an indirect way to express concepts or emotions in an abstract, imaginary sense. Therefore, depending on its purpose, an image exists in various forms on a two-dimensional plane. We know them as photographs, screen displays, as maps, as graphs, as pie charts, or as abstract paintings. To compose an image on a two-dimensional surface requires a figure-and-ground organization. In this basic sense, an image always refers to the cognitive ability to separate elements based upon contrast. To capture an image with its typical contrast, we generally use optical devices such as cameras, mirrors, lenses, and our own natural sense of sight. In a wider sense, an image can be rendered both automatically or manually. For example, we can create an image manually by using methods such as drawing, painting, or carving. On the other hand, we can also render an image automatically by using digital technology such as a computer, a scanner, or a printer. In addition, in the process of photography, the image can be developed by a combination of manual or automatic means. â&#x20AC;&#x192; Focusing on the image-generation process, this thesis aims to investigate another way of composing images by using three-dimensional space. Applying visual elements to a three-dimensional space enables us to reflect on the specifically human perspective. In this approach, the position, eye level, and angle of the beholder are themes that can be addressed in the design process. In addition, it can be inferred and analyzed how visual elements such as dots, geometrical lines, abstract strokes, volume, and mass, depend on the beholderâ&#x20AC;&#x2122;s perspective.

Inspiration

By focusing on the image creating process, this thesis begins with an idea of comparing the images and the sculptures. The main difference between these two mediums is the use of perspective in terms of creation and presentation. Subsequently, this fact also has a close relationship with why human beings developed paintings and sculptures in separated categories.

Perspective and Spatial Perception Perspective (techinique)

When a painter or an author creates a two-dimensional image, he or she has to choose a particular scene from either the reality or the imagination, and he or she generally transforms the staged information to the flat plane, to share his or her vision with the audience. In this process, an artist’s perspective is usually already fixed and limited to the two-dimensional quality. This has a direct relationship with the visual ability of the human. The human vision can only reflect a two-dimensional image through our two retinas, just like taking a picture with a camera. However, we think that we are seeing a three-dimensional image because of our cognition, which is established by our brain. Therefore, an audience’s perspective is as fixed and as limited as the artist’s, since the image is a direct translation of the artist’s vision and imagination. However, if you look at a building or a sculpture, you may perceive various images from different perspectives without any limitations. There is so much more freedom both for an artist and an audience. Referring to the observation of looking at a sculpture, Gotthold Ephraim Lessing said, “The more we see, the more must we aid our sight by thought; the more we aid our sight by thought, the more must we believe that we see.”[1] Depending on their position, eye level, angle, etc., the beholder can see and imagine various possible compositions from one figure, even though the main information or data of the image remains the same. Subsequently, the above comparison occasioned the thesis topic; investigating another way of composing images; which are unrestricted by the beholder’s fixed perspective, by using a real three-dimensional space.

PERSPECTIVE AND SPATIAL PERCEPTION PERSPECTIVE (TECHNIQUE) PERSPECTIVE (VIEWING) AND VISUAL PERCEPTION

Perspective and Spatial Perception Perspective (techinique)

The term perspective can be used in two different, but also similar, ways. First, it is a graphical method which presents three-dimensional objects and spatial relationships on a two-dimensional plane. In addition, perspective refers to the way in which objects appears through our vision based on the spatial properties such as dimensions, and the relationship between position of the eyes and the object. A dictionary defines the term as “a technique of depicting volumes and spatial relationships on a flat surface”, “a visible scene, especially one extending to a distance,” and “the state of existing in space before the eye.”[2] Like the above definitions, perspective is often used to provide spatial qualities in the image creating process. American critics, Martin Sturken and Lisa Cartwright, mention that “Perspective refers to a set of systems or mechanisms used to produce representations of objects in space as if seen by an observer through a window or frame. In perspective, the size and detail of objects depicted corresponds to their relative distance from the imagined position of the observer,”[3] in their book Pracctice of Looking: An Introduction to Visual Culture. Like the definition and exploration above, the perspective can exist and be constructed in these two different worlds, inside and outside of a created image. Therefore, the creator of an image can experience the perspective visually in the reality through his or her optical sense, and he or she can create the representation of the perspective graphically inside of the captured image, based on the perspective that was experienced.

Perspective (technique)

To apply spatial aspects and values graphically on to a two-dimensional surface, this can often be generated by two different mechanisms or techniques of perspective. These two main techniques in perspective drawing are: linear perspective, which deals with the organization of shapes in space, and aerial perspective, which deals with the atmospheric effects on tones and colors.

Perspective and Spatial Perception Perspective (techinique)

- LINEAR PERSPECTIVE : Linear perspective is a technique that creates the spatial depth which is related to both relative size and texture gradient on the flat image. The linear perspective system plays a significant role in transforming three-dimensional ideas into a two-dimensional plane. In terms of graphic representation, an artist may use artistic, scientific, systematic, or technical procedures to represent the phenomenon of the visual perception of the perspective. According to art in general, especially Western art, optical illusions of perceptual space and volume are generally applied and created by use of the linear perspective. In addition, this method is often utilized and adapted by people in various fields, including artists, graphic designers, architects, landscape architects, engineers, and others, to achieve an opportunity to incorporate an illusionary three-dimensional depth to flat images. The basic concept of the linear perspective is that when objects or figures appear to the eye, they seem to shrink in parallel lines and planes. Furthermore, as they converge towards a vanishing point in the infinite distant, they fade out from the observerâ&#x20AC;&#x2122;s vision. When the parallel lines get further from the vanishing point, the distance between the lines becomes wider and objects appear closer to the viewer. Thus, as objects become more distant they appear smaller, because the visual angle between each parallel line decreases as it converges on the vanishing point. The visual angle of an object is the angle subtended at the eye by a triangle with the

object at its base. The greater the distance of the object from the eye, the greater the height of this triangle, and the less the visual angle according to Euclidean geometry[4]. Therefore, parallel lines indicate a flat surface, and converging lines that we see as parallel indicate a surface that recedes in depth. For example, linear perspective can be explained using the parallel lines of railway tracks as an example. The railway tracks appear to meet at a distant point, and this point becomes the vanishing point. The tracks close to the bottom appear larger and wider than the track close to the vanishing point. In addition, depending on the viewer’s eye level and angle, the size difference of the tracks at different distances can be different. As the viewer’s position moves higher, he or she can see further and the vanishing point and the parallel lines also move. The linear perspective can be established with various outcomes, depending on the situation of the beholder. According to the number and location of the vanishing points, the perceptual volume and spatial depth may be simulated on the picture plane in variations. When these parallel lines in the spatial recession converge into a single vanishing point, this is called one-point or central perspective. There are several other perspective techniques based on the linear perspective system. For example, curvilinear perspective is constructed with curving lines instead of straight lines. The lines converge to the approximate image on the eye’s retina, which is rounded. This is a more accurate technique than the traditional linear perspective, which uses straight lines and becomes distorted toward the edges. Another example is forced perspective. This method can be used to misrepresent an object’s size intentionally. It makes a certain part of the image appear larger or smaller than it really is. This is a method frequently used in optical illusions and really useful according to the situation which needs to be intentionally manipulated.

Perspective and Spatial Perception Perspective (techinique)

- AERIAL PERSPECTIVE : Aerial perspective or atmospheric perspective is the method of creating the illusion of depth by a modulation of color and tone. Aerial perspective is generally established by the different effects on the appearances of ordinary objects, which are viewed through the atmosphere such as the weather, air density, and the light situation. For example, an ordinary objects looks to be further from the eyes during the day in comparison to the night, because the contrast between the objects and their background is reduced by light. Additionally, the color saturations of the objects are reduced, and most colors become blurred in daylight. Aerial perspective also refers to the effect the atmosphere has on the appearance of an object as it is viewed from a distance. As the distance between an object and a viewer increases, the contrast between the object and its background decreases. Subsequently, the contrast of any markings or details within the object decrease as well. The colors of the object become less saturated and shift towards the background color, however this may appear as another color depending on certain lighting conditions like sunrise and sunset. The major component affecting the appearance of objects during daylight is the scattering of light, also called skylight. Scattering of light occurs from molecules in the air and also from larger particles in the atmosphere, such as water vapor, dust, and smoke. Scattering adds the sky light as a veiling luminance onto the light from the object, reducing its contrast with the light on the background. In art, especially painting, aerial perspective refers to the technique of creating an optical illusion of depth by depicting distant objects as paler, less detailed, and usually bluer than near objects. For example, most surfaces around us, such as walls,

roads, trees, and a field of grass have specific textures to them. As the surface gets farther away from the viewer this texture gets finer and appears smoother. A surface or field that recedes in depth has a texture that gets finer. This is very different from a wall where the surface is approximately the same distance from a person at all points. In addition, texture may play a role in helping us determine the size of an object. Regardless of how far an object is away from us, it covers roughly the same amount of surface, and thus texture, which can help us determine the actual size of an object.

Perspective and Spatial Perception Perspective (techinique)

Perspective (viewing) and Visual Perception

Perspective also refers to the spatial situation of the objects, as they appear through the eye based on their properties such as dimension, and the relationship between the position of the eyes and the object. It provides information for the visual perception, the ability to interpret the surrounding environment, and to read the collected data in three-dimensional quality. Therefore, the different perspective situations in reality can create various scenes for the viewer, according to the viewâ&#x20AC;&#x2122;s visual perception. In order to understand the spatial quality of the reality, the most important perception is spatial perception, especially depth perception. The resulting perception is known as eyesight, sight, or vision. The various physiological components involved in vision are referred to collectively as the visual system, and are the focus of much research in psychology, cognitive science, neuroscience, and molecular biology. - SPATIAL PERCEPTION : Spatial perception is the ability to understand shape, size, movement, and the orientation of objects and the environment. Among the senses partaking in the role of determining space, the sense of sight is the primary sense, perceiving spatial relationships. The process of acquiring spatial perception mainly occurs in two different sections of the body; sensory organs and brain, to collect data from the environment. It is challenging to notice and explain the process of spatial perception, because the brain subconsciously creates a virtual three-dimensional map or picture of the environment in the process of understanding the space. - DEPTH PERCEPTION : The most effective component of spatial perception is depth perception. Depth perception is the visual ability to perceive the world in three-dimensions and the distance of an object. During the process of understanding the space, the brain determines how far away objects are by multiple ways

such as observing the occultation of objects, by observing contrast between light and shadow, by comparing texture gradient and blueness, and by judging the relative size of objects. Additionally, depth perception determines whether objects are moving and also compares the information which comes in through each of the eyes, in order to analyze it. When the eyes and brain analyze all of this data, they are able to determine the approximate distance between the viewer and the observed objects, as well as the distance between different objects. In this way, the understanding of how far away or how close objects are is a significant part of spatial awareness. Another component of spatial perception is in determining the size of objects. The brain is able to determine the size or scale of an object, by comparing its appearance with other objects around it. Furthermore, within the same process, the brain can determine whether the objects are in motion or not. In other words, the viewer can observe the motion of different objects by comparing the relationship of the objects to one another, or by reading or following a conversion in perceived size. Similar to all types of perception, spatial perception occurs automatically and subconsciously in oneâ&#x20AC;&#x2122;s brain. Both information, which is collected from the sensory organs, and knowledge, which is based on oneâ&#x20AC;&#x2122;s past experience, provide the components and evidence for the brain to map or determine the objects and environment surrounding it. For example, if one has experience of a bicycle, the person has an approximate understanding of how large the bicycle is. Moreover, by comparison with their rough understanding of the bicycle, this can help oneâ&#x20AC;&#x2122;s brain to determine the scale of other objects in the same environment.

Perspective and Spatial Perception Perspective (techinique)

USE OF PERSPECTIVE AND SPATIAL PERCEPTION IN ART HISTORY BEFORE THE INVENTION OF PERSPECTIVE PERSPECTIVE IN REPRESENTATIONS OF REALITY MULTIPLE PERSPECTIVES IN OBJECTIVE PAINTINGS MULTIPLE OR NO PERSPECTIVES IN NON-OBJECTIVE PAINTINGS

Perspective and Spatial Perception Perspective (techinique)

In the history of visual art and design, we can easily find various experiments or attempts to construct, use, and apply the process of three-dimensionality on to two-dimensional surfaces, which are limited as flat. According to this history, humans had begun to document information, mainly the world around them, by drawing and painting on flat surfaces. From the origin of drawings to the modern art paintings nowadays, there have been various attempts and inventions to create the drawings and paintings as realistic as possible. Additionally, many artists in the past focused on the question of incorporating the optical spatial aspects into their images, since most drawings and paintings, especially before the late nineteenth century, were based on the representation of reality even for the ritual paintings. Among the many different attempts, constructing optical spatial depth illusions was one of the popular endeavors for artists. According to the different techniques and methods for applying spatial aspects to the paintings, they can be categorized into four major eras; the era before the invention of perspective, the era using perspective in the representation of reality, the era using multiple perspectives in objective paintings, and the era using multiple perspectives or no perspective in non-objective paintings. There are two major aspects we are concerned with, the invention of using perspective in painting and the development of modern art.

Before the Invention of Perspective

The scientific system of perspective, which is widely used currently, is a comparatively recent discovery in art history. Before the Fourteenth Century, there were few attempts made to realistically depict the three-dimensional world in art, compared to images we see nowadays.

Perspective and Spatial Perception Perspective (techinique)

The first of our eras had begun while the human civilization invented and practiced drawing as a new technique for documenting information and for communication. Like drawing, painting has its known origins on rocks and in caves. For examples, 32,000 year old wall paintings have found in the Chauvet and Lascaux caves in southern France. The Cave of Altamira in Spain is another valuable example of the cave paintings, created 18,500 years ago. During the Stone Age, people painted on the walls and ceilings. Mainly, they painted bison, cattle, deer, and horses in shades of red, brown, and black. As a development of painting techniques, paintings of human figures can be found in ancient Egyptian, Greeks, and Roman architectures. Then, Greek and Roman art contributed to Byzantine art in the Fourth Century BC, which initiated a tradition in icon painting. The paintings from the Byzantine, Medieval and Gothic periods were very rich and beautiful, but there were no clear attempts to construct systematical spatial depth or optical illusions of depth. During the first era, artists had simply started to paint on two-dimensional surfaces such as walls, animal leather, a canvas, a board, and paper. In other words, they tried to establish the representational painting of what they had seen in reality. Even though there was no mathematical and systematical perspective or spatial depth in the paintings of the era, this does not mean that there were no efforts to imitate this spatial depth. For example, paintings from the cave of Lascaux in France contain multiple attempts to create spatial hierarchies. Among the figures inside the cave, a painting referred as â&#x20AC;&#x2DC;The Crossed Bisonâ&#x20AC;&#x2122; which was found in the

chamber called the Nave, is often held as an example of the skill of the Palaeolithic cave painters. In the painting, the crossed hind legs of the bison demonstrate the artists’ awareness of perspective in the era. We can see the artists’ cognizance of chiaroscuro as well, in terms of their pigment uses. Shadowed parts of the bison were painted but lighted parts were left as the wall surface. Additionally, another painting called the ‘Horses’ Head’ from the Chauvet cave contains multiple figures of horses’ heads in a single composition. In the painting, linear perspective was not yet established; however it shows aerial perception in its color uses. Viewers can clearly notice the grey scale of the receding heads on the figures behind and the dark black painted head on the top of every other figure. Furthermore, the light grey of the cave wall comes through the receding heads and literally creates a sense of transparency.

Fig1 The Crossed Bison, Cave of Lascaux 30000 BC

Fig2 Horse Heads, Chauvet cave Ardèche 30000 BC

Perspective and Spatial Perception Perspective (techinique)

Perspective in Representations of Reality

From the Fourteenth Century, artists started to understand the matter of expressing spatial depth in their paintings. During this era, most paintings and drawings were based on representations of the actual world. Due to the use of paint and other pigments, it became more necessary for artists to provide a bridge method which allowed the viewer to get into his or her painted world, and to share his or her vision. Since the actual world is not two-dimensional, the artists sought and developed systematic techniques to impress an optical illusion of spatial depth on to the two-dimensional surface. The first attempt of imitating three-dimensional qualities of depth and volume was explored by the Italian masters Giotto (1267-1337) and Duccio (1255-1318). They established an early form of systematic perspective by using shadowing to complement an illusion of depth, however this achievement was still very far from the perspective that we use in art today. Next, a Florentine architect Fillipo Brunelleschi (1377-1446) introduced the first known image constructed in linear perspective. In 1415, he painted the Baptistery in Florence on the front gate of the unfinished cathedral. The linear perspective system, introduced by Brunelleschi, made it possible to project the illusion of depth onto a two-dimensional surface by applying vanishing points to which all lines converged, at eye level, on the horizon. Furthermore, Brunelleschiâ&#x20AC;&#x2122;s concept of linear perspective was recognized by many Italian artists, and soon after the concept spread all over Italy. In the Italian Renaissance, new forms of geometric projection in the construction of perspective were developed in correspondence with the growth of novel pictorial art. By the Fifteenth Century, Renaissance artists extensively used the concept of perspective in their paintings and were finally able to create realistic paintings which were representative of the actual world. The style was soon developed

using configurations of architectural exteriors and interiors as the background for religious paintings, which thereby acquired the illusion of great spatial depth. The great artists of the Renaissance took advantage of the system first created by Brunelleschi and developed it into a more advanced and systematical method. For example, Masaccio (1401-1428) was one of the first artists who utilized the full systematic rules of perspective. According to the Italian painter Vasari, Masaccio was the best painter of his generation because of his skill at recreating lifelike figures and movements, as well as a convincing sense of three-dimensionality. [5] Massccio’s painting style especially shows that he was influenced and inspired by Giotto’s early system of perspective.[6] Most figures are heavy, large, and solid. There is a strong impression of naturalism throughout the canvas. In addition, most emotional expressions are established through the face and gestures of the figures. However, Massccio uses both linear and aerial perspectives. In his paintings, figures have volume, whereas the background, such as the buildings and landscape, realistically recede into the far distance. In addition, to construct a more natural and realistic environmental atmosphere or aerial perspective, he often used directional light (chiaroscuro); which is the representation of form through light

Fig3 Brunelleschi’s Perspective

Fig4 The Tribute Money, Masaccio, 1425

Fig5 School of Athens, Raphael 1505

Use of Perspective and Spatial Perception in Art History Perspective and Spatial Perception in Representations of Reality Perspective (techinique)

and color instead of using outlines. These essential changes in artistic method and the use of systematic perspective worked synergistically and provided the catalyst for a new era in art history. In a desire to depict the natural beauty and realistic aesthetics, many Renaissance masters such as Leonardo da Vinci, Michelangelo, Raphael, Botticelli, Donatello, and Titian expanded the use of perspectives in their paintings. Soon after, as the result of their successful use of these new techniques, their masterpieces were much imitated by many other artists all over the Europe. For example, the Dutch artists Hugo van der Gose and Jan van Eyck had particular influence on the development of Italian paintings, especially in terms of naturalism in representation. For the next five centuries, the system of perspective introduced by Brunelleschi was used to create the optical illusion of depth in two-dimensional paintings and drawings. This subsequently became the basis of fine art in Western culture. For example, during the Seventeenth Century, the Baroque painters such as Caravaggio, Bernini, Rubens, Rembrandt, Velazquez, and Vermeer continually used perspective and even developed it further in thousands of varied approaches. In particular a Dutch artist, Rembrandt, consistently reinforced the illusion of depth in his paintings by deploying strong chiaroscuro. By using this technique, he was able to achieve aerial perspective and psychological spatial depth by manipulating and contrasting light and shadow. Rembrandtâ&#x20AC;&#x2122;s portrait paintings are the best examples that show his mastery of the technique. In these portraits, viewers can see that the faces rendered are deeply painted with shadows. The expressive shading and lighting tend to converge around facial hollows such as the eyes, checks, and mouth, and combine to suggest a spatial as well as a psychological sense of depth. Due to the strong contrast of light and shadow, the highlighted facial hollows seem detached from the rendered scene of the portraits, and work as evidence which

shows a particular idea or strong emotion of the figure. Furthermore, the highlighted figures tend to have an illusionary spatial presence in contrast with the shadows of the air surrounding the figure. At the end of Nineteenth Century, Impressionists such as Claude Monet, Edouard Manet, Edgar Degas, Pierre Auguste Renoir, Paul Cezanne, and Camille Pisarro continued with the use of perspective, but using different techniques from the traditional art. Impressionism was one of the major art movements that had a huge impact in France during its time. Impressionists had a unique style in developing their paintings, with specific interests. They focused more on creating aerial perspective in terms of representing motions and color uses. The invention of photography had a major impact on Impressionism. The cameras could capture a certain moment in our lives and the resulting image could be printed on to two-dimensional surfaces as a direct copy of the human vision. Consequently, the Impressionists were interested in the way the camera would catch figures in perspective and they began to create their paintings in this manner of capturing a certain moment. With the development of the camera, Impressionist painters like Degas and Monet stud-

Fig6 Cena in Emmaus, Caravaggio, 1601

Fig7 Self-Portrait, Rembrandt, 1659

Use of Perspective and Spatial Perception in Art History Perspective and Spatial Perception in Representations of Reality Perspective (techinique)

ied the gestures and movements of people. For example, this technique was shown in Edgar Degas’ Four Dancers (1899). In the composition of the painting, three dancers are placed on the left side of the painting, and the fourth dancer, showing only an arm and face from the end of the frame, help construct the spatial depth. Additionally, Monet was interested in blurring his moving subjects to express and represent movement and speed. Monet developed this particular skill trough his study of using the slow shutter speed function of a camera. Furthermore, some Impressionists developed a new technique of using colors to apply a sense of optical aerial illusion on their paintings. The Impressionist painters were influenced by Eugene Chevreul’s book On the Law of Simultaneous Contrast of Color.[7] The book was published in 1839 and consisted of issues of colors. In addition, the author found that there were atmospheric changes when specific colors were placed next to each other. In particular, the use of complementary colors, which are colors that are directly across from each other on the primary color wheel, are the most intense when placed side by side. For example, when green is next to red, they cause a perceived vibration in the eyes. In addition, the placement of complementary colors make the colors appear to be coming off the canvas. Working from the new theory of complementary colors, impressionist artists developed their idea of using logical colors to translate their own impression of subjects on to their canvas. According to this technique, by using certain colors next to each other on the canvas, it allowed the viewer’s eyes to mix the two hues subconsciously. Following this, the optical mixing colors made paintings appear lighter than when painted with actual mixed colors. Additionally, the optical colors helped to create the effect of motion in the paintings. For example, Monet said “Color owes its brightness to force of contrast rather than to its inherent qualities … primary colors look brightest when they are brought into contrast with their complementa-

ries.â&#x20AC;?[8] In Monetâ&#x20AC;&#x2122;s painting The Saint Lazare Station (1877), he painted the steam train and glass roof and created dramatic highlights and shadow by using specific color placements. In addition, through the painting, he shows the rich contrast between browns and grays by combining colors such as cobalt blue, cerulean blue, synthetic ultramarine, emerald green, viridian, chrome yellow, vermilion, and crimson lake. He also used the contrast of white and ivory black to create the contrast between shadow and light. Like the above examples, the use of systematic linear perspective and aerial perspective dominated Western paintings until the end of the Nineteenth Century. Many European artists used and developed the technique of perspective in various attempts through the centuries. This was inevitable, because the main role of artists in the era was representing, documenting, and painting certain moments in reality as real as possible.

Fig8 Four Dances, Degas, 1900

Fig9 Sunrise, Monet, 1972

Fig10 The Saint Lazare Station, Monet, 1877

Perspective and Spatial Perception Perspective (techinique)

Multiple Perspectives in Objective Paintings

Linear perspective dominated Western painting until the end of the Nineteenth Century, however at this point it reached its peak and rapidly declined. According to Arnason’s book History of Modern Art, he described Renaissance art as “imitations of nature” and claimed that “Perhaps the greatest revolution of early modern art lay in the abandonment of this attitude and the perspective technique that made it possible.”[9] Such claims have led to a widespread view that interest in perspective died in the twentieth century. Towards the end of the 19th Century Paul Cezanne, a French painter, was the first artist who broke the trusted rule of using perspective in paintings. Cezanne was not primarily interested in creating the illusion of depth in his painting and he abandoned the tradition of perspective drawing. He began to question the underlying structure of his subjects. Cezanne felt that the illusionism of traditional perspective, which had been used for centuries, denied the materiality that a painting is a flat two-dimensional object. Subsequently, he literally flattened down the conventional Renaissance picture space. He liked to flatten the space in his paintings to place more emphasis on their surface, in order to stress the difference between a painting and reality. Significantly, Cezanne had begun to ignore the laws of classical perspective, and allowed each object to be independent within the space of a picture while letting the relationship of one object to another have precedence over the traditional single point perspective. At points his works became almost abstract, with the canvas being covered with thick layers of pigment often applied with a palette knife, and the naturally occurring forms simplified to their geometric essentials. This was perhaps the beginning of the end of academic composition following the long established rules of perspective. Soon after, Cubists followed Cezanne’s idea of abandoning perspective. Cubism was a truly revolutionary style of modern art developed by artists such as Pablo Picasso and Georges Braques. It was the first style of abstract art, which developed

at the beginning of the Twentieth Century in response to a world that was changing rapidly due to technological and industrial revolution. During this period, new inventions such as photography, cinematography, sound recording, the telephone, and others opened a new modern age. In addition, the invention of fast transportation such as trains, airplanes, cars, and steamships allowed Europeans the ability to more easily reach cultures from unfamiliar worlds, including the expressive art from Africa and Asia, particularly Japan. The problem for most artists at this time was how to reflect the modern society with a new radical approach, instead of using the tired traditions, which had been trusted and served art for the last four centuries. The Cubists believed that the traditions of Western art had become exhausted. They challenged the conventional forms of representation, especially the use of perspective, which had been the basis of creating composition in paintings since the Renaissance. Their goal was to develop a new way of seeing, which reflected the modern age. Thus, the Cubists abandoned the depiction of three-dimensional space altogether and therefore had no need for linear perspective anymore. Cubism had two distinct phases; Analytical and Synthetic Cubism. The early phase, which lasted until about 1912 was called Analytical Cubism. In this phase, the artist analyzed the subject from both multiple and independent viewpoints and reconstructed it within a geometric framework. Even though Cubists tended to ignore the traditional perspective, each fragment was built within a perspective. However, the perspective of each fragment was hardly noticeable when combined as one composition. The overall effect of this was to create an image that evoked a sense of the objects. These fragmented images were unified by the use of a subdued and limited palette of colors. Around 1912, Cubist paintings by artists like Picasso and Braque became increasingly abstract and less recognizable. In an attempt to bring some objective aspect back from total abstraction, Picasso invented a new tech-

Use of Perspective and Spatial Perception in Art History Perspective and Spatial Perception Multiple Perspectives in Objective Paintings Perspective (techinique)

nique, termed collage. He began to glue printed images from the real world onto a flat surface. His painting Still Life with Chair Caning was the first example of the collage technique. This technique led Cubists into a new style; Synthetic Cubism. Influenced by the introduction of bold and simple collage shapes, Synthetic Cubism moved away from the unified monochrome surfaces of Analytic Cubism in to a more direct, colorful, and decorative style. Synthetic Cubist images appear more abstract in their use of simplified forms, but the other elements of their composition are applied in traditional ways. Since Synthetic Cubist images were based on collages, including interchanging lines, colors, patterns and textures, materiality added little more spatial quality to the paintings, even though they were intended to be flat. Cubism began in France and emigrated across Europe, integrating with the artistic consciousness of several countries. Later, it emerged as Futurism in Italy, Vorticism in England, Suprematism and Constructivism in Russia, and Expressionism in Germany. It also influenced several of the major designs and architectural styles of the same era.

Fig11 The Large Bathers, Cezanne, 1906

Fig12 Still-life Chair Caning, Picasso, 1912

Fig13 Les Demoiselles dâ&#x20AC;&#x2122;Avignon, Picasso, 1910

Multiple or No Perspectives in Non- Objective Paintings

As mentioned in the previous section, many artists in the Twentieth Century denied using the logic of perspective in an attempt to reproduce an illusion of visible reality, and they struggled in seeking for a new method of representation. One of the major ideas to change the art was abandoning the representation of figures in paintings, and focusing more on expression of the human mind. This was termed abstract art. Therefore, abstract art is also known, as nonfigurative art, non-objective art, and non-representational art. These are similar, but perhaps not of identical meaning. Abstract art usually uses a visual language of form, color, and line to create a composition, which may exist with a degree of independence from visual referents in the world. Abstraction indicates abandonment from reality and a depiction of imagery in art. This departure from truthful representation can be only slight, partial, or it can be complete. Any painting, which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract, and Cubism paintings that were mentioned in the previous section can be considered as partially abstract. On the other hand, total abstraction paintings bear no trace of any reference to anything recognizable. Wassily Kandinsky (1866-1944) was one of the most important artists in the history of abstract art. He was the first painter who completely abandoned the referential content of reality, and that is why his work is widely credited as the first abstract art. Kandinsky considered and developed his own artistic theories, often inspired by music. He believed that music is an art form, which uses the abstract elements of sound and divisions of time. His spiritual beliefs and his own artistic experiences led him to create a non-objective approach and allowed him to create a spiritual world for paintings. He often used geometrical elements and non-fig-

Use of Perspective and Spatial Perception in Art History Perspective and Spatial Perception Multiple or No Perspective in Non-Objective Paintings Perspective (techinique)

urative forms in colors. With full use of freedom, his paintings usually appeared confused, but also had a great freshness, fluidity, and vitality. Although Kandinsky abandoned the use of traditional perspectives, he did not intend to make his painting flat. He tried to input spatial qualities into his painting by using harmonious colors in composition, but without using weight differences such as shadow or chiaroscuro. By neglecting to use weight to help in the placement of spatial depth, the spatial depth in Kandinsky’s abstract compositions do not represent symmetry and static order, but were based on momentum. In his Cologne Lecture of 1914, Kandinsky describes the physics, as it were, of his none-dimensional visual world, his aesthetic chaos; where up and down, nearer and farther, heavy and light, have ceased to exist. However, Kandinsky’s visual world is neither flat nor dimensionless. He added a non-existent dimensionality to his compositions by placing his colors and shapes not only on the canvas, but also seemingly at different illusionary levels in it. In the Cologne Lecture he continues, “The colors . . . lie as if upon one and the same plane but their inner (psychic) weights (values) are different.”[10] Technically, this means that watercolor pigments can create various physical and emotional qualities, depending on their use such as scratching, stumbling, blending, mixing, and all the other possible ways of varying texture and color density, even though they all lie on the same two-dimensional plane. In addition, the idea of using contrast between different applications of pigments is similar in method to that of aerial perspective, in terms of comparing one element to others around it. Kandinsky also mentioned, “I also avoided the element of flatness in painting, which can easily lead and has so often led to the ornamental. The difference between the inner planes (the variation in textures and color densities) gave my pictures a depth that more

than compensated for (the abandonment of) earlier perspective depth.”[11] He not only created new forms, but also invented new laws of nature in which such forms could plausibly exist. He created a new spatial and dimensional world, which cannot exist in reality. With Kandinsky’s successful invention, his attempt at abstraction became the reference and inspiration for many artists, such as Piet Mondrian, Hans Arp, Frank Stella and by the Op Artists. The use of multiple perspectives in non-objective paintings can be found in other art movements too. A Dutch painter, Piet Mondrian (1872-1944), was an artist who also created abstract painting. His early works showed elements of representation, and were more like traditional paintings using linear and aerial perspectives. After he moved to Paris, he was deeply influenced by Cubism, and he began to simplify his shapes and lines until, by the 1920s, his work was entirely removed from any reality. The forms he used were colored squares, often just the three primary colors, rectangles and black lines. Since he used perfect and sharp geometrical shapes within a geometrical composition, the viewers’ perception could catch the illusion of spatial depth from his paintings, even though they were flat and without any perspective. Mondrian was very influential among the artists that followed him. His philosophy; that painting should stand on its own, totally free of reality and representation, was a major influence on the Op Artists. A similar concept of abstraction was also used in Russian Constructivism and Suprematism. Kazimir Malevich (1879-1935) was another artist who felt that art needed a radical and complete revision. Born in the Kiev Governorate of the Russian Empire and a deeply religious, practicing Roman Catholic, Malevich wanted to eliminate reality from art and he wanted to create a nonsensical realism. Similar to Mondrian, Malevich used simple geometric shapes, mainly focusing on the square

Use of Perspective and Spatial Perception in Art History Perspective and Spatial Perception Multiple or No Perspective in Non-Objective Paintings Perspective (techinique)

and the circle. He then used limited color schemes, mostly black, white and red, through which he felt that he expressed eternity. The movement he started was called Suprematism and began around 1915. It was also the year that Malevich produced some of his most famous works such as Black Square and Black Circle. His next breakthrough came with White on White in 1918, which took Suprematism from polychrome to monochrome. Monochrome denotes not the passive openness of an empty space but the infinite generative power of the Suprematist idea. Similar to Kandinsky and Mondrianâ&#x20AC;&#x2122;s attempts, Malevich created a virtual spatial aspect by comparing the different values of color, even though the traditional perspective was denied in his paintings. A Constructivist artist, El Lissitzky, also created non-figurative paintings within the use of multiple perspectives, but this will be discussed later, since his works are directly related with the practical part of this thesis.

Fig14 White, Kandinsky, 1923

Fig15 Composition VII, Kandinsky, 1913

Fig16 Composition with Yellow, Blue and Red, Mondrian, 1937

Fig17 White on White, Malevich, 1918

PROJECT OVERVIEW

PRECISE QUESTION RELATED THEORY AND PRACTICE – MULTIPLE PERSPECTIVES OF CUBISM RELATED THEORY AND PRACTICE – A CASE STUDY OF PROUN BY EL LISSITZKY POSSIBLE SUGGESTION

Perspective and Spatial Perception Perspective (techinique)

Precise Question

Human vision can only reflect a two-dimensional image through our two retinas, and we think that we are actually seeing a three-dimensional scene or image, because our recognition is built by visual perception. The eye works only as a capturing tool in the recognition process. Therefore, an artist’s perspective is usually already fixed and limited in the two-dimensional quality, from the moment he decides an imaginary scene to paint for his image. While the artist paints or creates the image, the scene he imagines is stored as a two-dimensional scene in his brain. This has a direct relationship with the visual perception of the human. Thus, the audience who sees the image created by the artist also receive the exact same perspective as the artist’s, which is fixed and limited, because the image is a direct translation of the artist’s vision and imagination. Explaining the philological process of understanding visual objects is problematic, because it and the field of perception are infinitely vast, depending on each person’s background and experiences. Recognition and understanding of visual objects requires a process at the nexus of visual perception and visual cognition. However, to understand the middle process between perception and cognition, it is beneficial to abandon any sharp distinction between perceptual and cognitive aspects of the visual object. Our ability to recognize an object as one, requires a number of complex and inexplicable psychological steps. To recognize, identify, or categorize an object involves comparing its visual representation with some representation of stored knowledge or memory. Regular objects around us can be automatically recognized from many other viewpoints, since we experience most objects from living with them. Even after substantial experience of viewing objects from a limited and unclear set of viewpoints, our recognition from unfamiliar viewpoints can be understood by replacing these with the closest familiar viewpoint. Therefore, objects can usually be recognized without effort from any viewpoint, indicating that indepen-

Project Overview Perspective and Spatial Perception Multiple Perspectives of Cubism Perspective (techinique)

dent representation can draw from experience from other viewpoints, although these might be unclear or abstract depending on situations. Accordingly, behavioral performance and sensual responses can be varied, depending on one’s viewpoint. The simple transformation of size, translation, and picture plane rotation can bring the view of an object into correspondence with a stored view. However, when we try to recognize a novel object or an abstract form, which we do not have any prior knowledge or memory about, we cannot easily recognize it with any degree of clarity. In addition, unfamiliar and complex transformations can stimulate the resulting differences in illumination, depth, picture plane rotation, or shape. For example, the front view of someone’s face does not contain sufficient information to recreate the side view of the face. Even though, the face in this example is not a novel object, the idea is the same. According to this example, we can assume that this can also be applied to viewing a perspective of an image. For example, when an artist’s perspective is fixed on one scene, which he is not familiar with, he would lock himself in that one fixed perspective. Therefore, he loses all other possibilities or scenes from other perspectives, which can provide varied results. From these aspects, the practical experiments of this thesis started with a question, which is how to provide complete liberty in choosing a perspective for the creator of an image or for the artist.

Related Theory and Practice â&#x20AC;&#x201C; Multiple Perspectives of Cubism

Fig18 Still Life with Fan, Braque, 1910

In fact, the issue and limitations of perspective was also seen as an obstacle to progression by the Cubists. The fact was that a picture drawn in traditional perspective could only work from one viewpoint, and this issue restricted their options in composing an image. When the image was drawn from a fixed position, the resulting image became frozen, like a snapshot. However, the Cubists wanted to create pictures that reached beyond the rigid geometry of perspective. In addition, they wanted to introduce the idea of relativity to how the artist perceived and selected elements from the subject; fusing both their observations through their eyes and memories within their brains into the one determined image. To solve this issue, the Cubists examined the way that we see the world. When we look at an object our eyes scan it first. Furthermore, our eyes stop and focus on a certain interest and detail before we move on to the next point of interest, and so on. We can also change our viewpoint from above to below, from side to side, and from distant to close, in relation to the object. Therefore, the Cubists suggested and proposed that

Fig19 The Poet, Picasso, 1911

Fig20 Bottle of Vieux Marc, Glass, and Newspaper, Picasso, 1913

the sight of an object is the sum of many different viewpoints and your memories, which are based on your experience of an object. Thus, the Cubist paintings are not constructed from one angle, as in perspective, but from many angles and multiple viewpoints, selected by your sight and movement.

Project Overview Perspective and Spatial Perception A case study(techinique) of Proun by El Lissitzky Perspective

As a result, Cubist painting achieved an attempt at a more realistic way of seeing, even though it seems paradoxically abstract in form. A typical Cubist painting depicts real people, places or objects, but not from a fixed viewpoint. Instead it shows you many parts of the subject at the same time, viewed from different angles. Therefore, the whole idea of space is reconfigured with the front, back, and side views of the subject, and these become interchangeable elements in the composition of the painting. Finally, it is reconstructed into a composition of planes, forms, and colors at the moment when the audience looks at the painting. Pablo Picasso, Georges Braque, and others envisioned and developed Cubism, but many artists continued and adapted their ideas and achievements in the ensuing era to visualize a more realistic way of seeing, in terms of psychological and philosophical approaches.

Related Theory and Practice – a Case Study of Proun by El Lissitzky

Studying existing experiments using spatial images, we can refer to such concepts in Russian Constructivism. In the early Twentieth Century, many artists and architects studied space, and sought pertinent ways to express space. Artists such as Kazimir Malevich, Alexander Rodchenko and above all, El Lissitzky, applied architectural spatial compositions to their paintings and lithographs and developed them into a virtual, three-dimensional space. “In these works, the basic elements of architecture — volume, mass, color, space, and rhythm — were subjected to a fresh formulation in relation to the new Suprematist ideals.”[12] El Lissitzky identified and organized ideas on how to define space. Among his respected works, Proun, (Russian abbreviation for ‘Project for the affirmation of the new’) is a series of paintings, which contained and presented artistic theories of logic and space organization. His entire career was based on his belief that the artist could be an agent of change in modern art. He suggested his ideas of two-, three-, and four-dimensional space in a perceptual view. With Proun, he emphasized a significant characteristic, a virtual structure of time and space, then suggested an infinite expansion of space and researched the abstract space he defined as Proun. In the early 1920’s, El Lissitzky proceeded to develop a Suprematist style of his own; a series of abstract, geometric paintings which he called Proun. The exact meaning of the word Proun was never fully defined, with some suggesting that it is a contraction of “proekt unovsia[13] (‘Architectural design of UNOVIS’), or “proekt utverzhdenya novoga” (‘Design for the confirmation of the new’). Later, El Lissitzky defined them as the station where one changes from painting to architecture. Proun was essentially El Lissitzky’s exploration of the visual language of Suprematism, with spatial elements, shifting axes, and multiple perspectives to signify an innovative form of creative work. The piece was part painting, part architectural, and part graphic, and capable of application in any of these fields of activity.

Project Overview Perspective and Spatial Perception A case study(techinique) of Proun by El Lissitzky Perspective

Through Proun, the basic elements of architecture - volume, mass, color, space and rhythm - were subjected to a fresh formulation in relation to the new Suprematist ideas. Among Lissitzsky’s suggested concepts, through Proun, creating a hidden imaginary space where Lissitzky’s logic and metaphor - virtual space within a two-dimensional, nonlinear method, and a concept of artificial immateriality – was significant. The following section will analyze and explain the logic that Lissitzsky adapted for his work Proun. First, Lissitzky created a concept of virtual space for a two-dimensional surface, by laying out geometrical elements with his own logic. In Proun, the image of elements did not only uncover and organize space, but also deconstructed space in a virtual world. In addition, while time is deconstructed, space became momentary, repeatable, and impromptu. Throughout the deconstruction, the image of elements created a simultaneous and identical space. Therefore, a subject subconsciously appeared to disappear or be multiplied in the space. In a virtual space, elements of Proun occupied and demonstrated each topological space. While using the two-dimensional medium, Lissitzky discovered a three-dimensional space, which is modified in terms of viewpoint and the existence of the elements. In addition, through a conceptual procedure, objects and forms were constructed or retrieved from memory as results of the virtual space. For example Proun 12E (1923) , shows a form of virtual essence. In this work, three-color sections interacted with each other in all directions around the oval in the middle. Lissitzky inversely obtained the virtuality of a form that cannot be constructed in the real three-dimensional space. Additionally, to create the virtual space, Lissizky expressed space without actual directions. In other words, he considered rotating and flipping over elements in a two-dimensional canvas. As a result, the space was expressed differently from various viewpoints of the images inside Proun.

The modified viewpoints of spatial elements created images that could not be constructed without the visual ability that guaranteed the modification, such as the deployment and rotation of elements in space. Thus, Lissitzky worked within the virtual space inside of the flat surface, rather than working on a regular two-dimensional surface, to develop various expressions due to the different viewpoints. Furthermore, Lissitzky believed that curves and spheres had important roles in creating the virtual space of the universe. For example, he tried to represent non-geometric space as curves and tried to deny natural geometrical space in Proun, 1925. Following this, he consistently emphasized curves and spheres in Proun images. As another example, when the curved elements reached the background in ‘Proun, 1922-1923,’ he undoubtedly showed a new special image. The curved element created an image of space analogous to the panoramic view and showed virtual space. In other words, it created a 360 degrees angle viewpoint in the virtual space of the composition. Next, Lissinzky created a nonlinear hyperspace through Proun. He intended to demonstrate a materialist stance by achieving the creation of a viewpoint which expanded in positive and negative directions from the center of the Proun. Lissitzky said in his article PROUN: Not World Visions, But – World Reality, “Moving around Proun, we pressure ourselves to space. We made Proun move. So we have obtained several projections.”[14] In addition, ‘projection’ stood for an observer’s existence and several projections referred to the perceptual sense of a moving observer. Lissitzky carried out many experiments on space creation through Proun. One of the most significant subjects is his research on causing the observer to move and to change viewpoint. To read Proun, the observer moves their eyes through invisible guided paths that Lissitzky created. Lissitzky intended to destroy a fixed position of the observer when he or she could read Proun. Therefore, the observer had to move

Project Overview Perspective and Spatial Perception A case study(techinique) of Proun by El Lissitzky Perspective

dynamically at the center of Proun to see various hidden spaces in the two-dimensional plain. Additionally, Lissizky maintained recurrent, repeatable multi-layered vibrations or selective nonlinear elements through Proun. In other words, the observer experiences the space constructed by selective paths between elements. The objects in Proun function as spatial elements and formulated each space by themself. These elements each operate as a concentration point individually, and lead the observer’s eyes to other individual spaces. Through Proun the observer experienced various spaces, linked with various axes of multiple viewpoints and the spatial experiences. Therefore, depending on an observer’s motives and interests, Proun freely projected different compositions of space. Lissitzky emphasized this significant idea of the moving observer, and he utilized the idea in his exhibition space. Lissitzky said an observer must be allowed to walk through the exhibition space by himself. In other words, he emphasized that the observer in an exhibition space must become a productive function, and participate in moving between displayed objects as a subjective element. Lissitzky’s denied the one-way relationship and linear movement due to the object. However, he suggested that interaction between objects and subjects should create various unique spaces and experiences. At last, Lissitzky made a smooth transition between the imaginary spaces, by using the concept of artificial immaterial elements. Unlike the natural spaces, the virtual space was not invented by an individual, but developed into its own system of logic. In addition, physical restrictions of the real world had to be eliminated to create the definite structure or space which existed inside of human imagination. To create the ingenuity in Proun, Lissitzky used various ideas such as a repeatable, continuous, and simultaneous system. In addition, he liked to use basic geometric

elements such as squares and circles to help creation of the virtual space. Those elements were artificially used as an interface between spectators and Proun. On the other hand, most of them also became simultaneously incorporated as a frame of the virtual space. The roles of the geometrical elements were demonstrated in Lissitzky’s early Proun. Entering into the space, the elements functioned as a frame for the space. Additionally, the frame denied certain objects in the space and led observer’s attention to another space through 3 immaterial processes. Therefore, immateriality has a significant meaning in Lissitzky’s space investigation. For example, in Proun #93 (1924)Lissitzky used repeatable circles in one direction, which performed the role of framing the interior volume of the virtual space. The invisible frame became the wall and intentionally became the focus of the painting. However, when you focused on the inner space of the invisible wall, it disappeared and lost the relationship with objects and become a new space. Therefore, through the immaterial process, the observer’s vision expanded and demonstrated the substance of the whole composition of the Proun.

Fig21 Proun 12E, Lissitzky, 1923

Fig22 Proun, Lissitzky, 1925

Fig23 Proun, Lissitzky, 1922-3

Fig24 Proun #93, Lissitzky 1924

Perspective and Spatial Perception Perspective (techinique)

Possible Suggestions

According to the research concerning the related theories and practices in the last two sections, possible suggestions were established. Unlike the studies of Russian Constructivists, who applied a virtual space inside a flat surface, this thesis adapts the same methodology, but in reverse. In terms of the image-making process, the thesis explores ways of composing images by using a three-dimensional space. Applying the positional relationship between an image and an audience, artists created more interactive images through time and space. Based on this line of thought, this thesis investigates how the positional relationship between an object and an artist or a creator can generate open and unlimited possibilities within a three-dimensional space.

PROJECT PLAN IN DETAIL DESIGNING A MODEL STRUCTURE - 2.5 DIMENSIONS BY LAYERING CONTENT - SIMPLE GEOMETRICAL FORM MEDIUM – ANALOGUE AND DIGITAL

Perspective and Spatial Perception Perspective (techinique)

The aim of this project is to provide easier access to the different perspectives from every individual direction within a 360 degrees angle, and this called for design of a three-dimensional model. The method for making a three-dimensional model was inspired by the field of architecture. Architects usually build a model, a direct copy of a building in a smaller scale to overview the structure. For example, imagine the views of contemporary architectural structures, such buildings designed by Deconstructivists like Frank Owen Gehry, Bernard Tschumi, Coop Himmelblau, Daniel Libeskind, Rem Koolhaas, Zaha Hadid, and Frank Eisenman. Since their works are famous and popular, it might be possible for you to imagine the facade of their work; however it is almost impossible to have predicted the view from other directions before you actually saw them. Even though all architects use representational images such as the perspective drawing, isometric and axonometric projections, and architectural drafting, they donâ&#x20AC;&#x2122;t preserve enough information of the structures within space. In this sense, it is necessary for the architect to make either an analogue model or a three-dimentional CAD drafting to understand the overview of structure, and for them to introduce the overview to the client or viewer understandably. Thus, the final goal of this thesis is to construct an image-making tool, which can remove the limitations of fixed perspective. In this way, it will make the author able to make many images in various compositions by using this model as a new image-making tool. In addition to this, it also aims to open perspective for the audience with the captured images.

Perspective and Spatial Perception Perspective (techinique)

Structure 2.5 Dimension by Layering

For many years, psychologists have considered the mental transformation from a two-dimensional retinal image to the perception of a three-dimensional environment. In 1838, Charles Wheatstone proposed the explanation of stereopsis, where “the mind perceives an object of three dimensions by means of the two dissimilar pictures projected by it on the two retinas.”[15] Furthermore, in the 1970s David Marr developed a multi-level theory of vision. He analyzed the process of vision from different levels of abstraction. In order to focus on the understanding of specific problems in vision, he identified three levels of analysis, which are the computational, algorithmic, and implementation levels. The computational level addresses, at a high level of abstraction, the problems that the visual system must overcome. The algorithmic level attempts to identify the strategy that may be used to solve these problems. Finally, the implementation level attempts to explain how solutions to these problems are realized in neural circuitry. According to the theory, Marr suggested that it is possible to investigate vision at any of these levels independently. His stages of vision include 1) “A 2D or primal sketch of the scene, based on feature extraction of fundamental components of the scene, including edges, regions, etc. Note the similarity in concept to a pencil sketch drawn quickly by an artist as an impression. 2) A 2D sketch of the scene, where textures are acknowledged, etc. Note the similarity in concept to the stage in drawing where an artist highlights or shades areas of a scene, to provide depth. 3) A 3 D model, where the scene is visualized in a continuous, 3-dimensional map.”[16][17]

The first level in Marrâ&#x20AC;&#x2122;s suggestion was already mentioned above along with other psychological theories. The third level is related to my idea of using a three-dimensional model to see images from many other perspectives. However, while the expected outcome or result of this thesis will be a series of two-dimensional images, the third level cannot be fit into the model of this thesis. Additionally, the resulting image may become too predictable if the third model, mentioned by Marr, is used, because the model has too much detailed information in its continuous form and closure volume. Then, the use of a two and a half dimensional model, suggested as the second by Marr, perfectly fits into the thesis, because what this thesis wants to achieve is to provide a liberty of perspective both in and outside of an image. Based on the second level that Marr suggested, the layering system of the model was established. As the first step, the author has to prepare a single original image. Then, the original image is deconstructed into six pieces. The deconstructed images immediately become a visual scene from different distances. Each image is painted, or projected on a layer of transparency plane. Then, six layers, which contain six different images, are overlaid in an impression of distance. Between each layer, there is black space with a vacuum of air. The measurement of the distance between each layer is the same. The decision of making six layers and the distance between the layers were fixed for the systematic experiments, so that each experiment can be compared in a logical and scientific way. Finally, the frontal view of the combined layers becomes a visual scene or image, within a perspective of spatial depth. In fact, the similar techniques are used by a group of contemporary artists, practicing anamorphic paintings. For example, a Swiss artist Felice Varini and a Frence artist Georges Rousse paint on interior and exterior architectural space. They use numbers of surfaces within the space as their canvases, then the complete shape

Project Plan and in Detail : Designing a Model Perspective Spatial Perception Structure - 2.5 Dimensions by Layering Perspective (techinique)

can only be seen when the viewer access to a certain point and angle, otherwise the viewer will only see only fragments shapes. In terms of converting fragmented images of a three-dimensional space, into a two-dimensional image, is very similar to the model in the thesis. Although, their image generating procedure is similar to the thesis, the essential aiming is totally opposite. Whether they intended or not, they force viewers to see their paintings in a specific perspective. Then, viewers naturally find themselves standing in the focal point and able to see the piece as a cohesive whole.

Fig25, 26 Anamorphic-Illusions, Rousse Fig27,28, 29 Anamorphic-Illusions, Varini

Content Simple Geometrical Form

The non-figurative geometrical visual elements, such as a rectangle, a line, and a point, are used as the basis of the content image on each layer. The visual elements will be colored in monochrome, black or gray scale, inspired by the Suprematist movement. The content image will be as simple as possible in terms of shape and color. In each experiment, the content image contains similar, or the same, aspects in general. The application of the simplicity was mainly based on Gestalt psychology. Gestalt psychology, also known as the Gestalt principle of perception, was founded in Germany in 1910 by psychologists, Kurt Koffka, Max Wertheimer, and Wolfgang KĂśhler. The major goal of the Gestalt Principles of Perception is to suggest that the simpler visual form is easier to perceive. The theory emphasizes that parts or elements of a visual image might be considered, analyzed, and evaluated as definite components. In addition, it also highlights that the whole of a visual image is different from and greater than the sum of its parts. Types of perception for the human mind were first being considered and studied severely in the late NineteenthÂ Century in psychology. Among the psychological studies of human perception, the Gestalt principle of perception is the concept of how the human mind sees patterns in incomplete representations of objects or concepts. The nature of the whole can be deducted from these patterns. The theory was promoted and updated in the 1920s by philosophers and psychologists, Johann von Goethe, Ernst Mach, and Max Wertheimer. The most basic of the essential Gestalt principles is that the human mind perceives meaning or signs based on the higher brain context of what its senses witness, more than it relies on the full sensory content before it. The Gestalt principle of perception is founded upon four basic premises of grouping laws concerning how people think. These involve the ideas of similarity, continuation, proximity, and closure. Additionally, the law of figure and ground can be included. Proximity is related to continuation, and is a tendency in thinking to group together

Project Plan and in Detail : Designing a Model Perspective Spatial Perception Content - Simple Geometrical Form Perspective (techinique)

objects that are physically near each other as being parts of a larger whole, such as a series of small blocks aligned next to each other perceived to be making up one larger block. Elements tend to be grouped together according to their nearness. As the example shows, four circles to the right appear to be in one group whereas two circles to the left appear to be in a separate group of their own. This is due to the fact that a larger gap exists between the two groups than exists between each individual circle. The concept of similarity infers that the human mind groups together objects and occurrences that have basic traits in common, and sees higher connections between them which make them appear as a unified whole. In the example above, items similar in some respect tend to be grouped together. Even though all shapes have the same space in between, four squares form a group and four circles form another group. This phenomenon is caused by certain elements being similar in line, shape, or form. The law of closure is one of the most fundamental aspects of the gestalt principle of perception, which states that the mind essentially fills in the blanks when an incom-

plete picture or pattern is observed. The mind has a tendency to give incompleteness a greater meaning, based partly on assumptions from memory and experience about what the missing elements would be. Items are grouped together if they tend to complete some larger entity. The empty space in the middle of the top row implies a square to complete or close the outer rectangular perimeter. The human mind tends to enclose spaces by completing contours and ignoring gaps between shapes. The law of continuation involves a visual trait where the eye is led to follow a certain pattern to its end, in order to find meaning in an object, which is often based on simple lines or curves which are present in natural and man-made environments. Items appear to be in a continuation of direction if they align in a linear order. Three circles appear to be on the same rising line in this example. The human mind tends to perceive continuation in smooth succession, rather than with abrupt changes in direction. In addition, there is also a natural tendency regarding human perception for the mind to orient itself in an environment based on directions of up and down, which are associated with figure and ground. Objects are differentiated from a platform or stage. Then, the objects are assumed to rest, or to be upon a background upon which they are superimposed. This tendency is so innate to the gestalt principle of perception that, when perspective is removed such as in a weightless environment such as space or underwater, the human mind may become disoriented and confused. Some objects take a prominent role (the figure â&#x20AC;&#x201C; A), while others recede into the background (the ground â&#x20AC;&#x201C; B). In both examples, the circle is the figure and the rest of the area within the square is the ground (background), but one is more prominent than the other. This phenomenon is made possible by the contrast of the circle to the ground.

Project Plan and in Detail : Designing a Model Perspective Spatial Perception Medium - Analogue and Digital Perspective (techinique)

The Gestalt principle of perception is in direct opposition to the approach of Atomism in psychological theory, which states that human perception is based on being able to break down concepts or objects into fundamentally basic elements that are identifiable. The difference between the two opposing theories of Atomism and the Gestalt principle of perception can be explained by how someone sees an object. For example, imagine someone is seeing a car. According to the Atomism approach, someone first sees the individual components such as the front wheel, back door, windshield, and so on, and then assembles them all in the mind to realize that it is a car. The gestalt principle of perception states that the entire car is visible and noticeable first, even if significant parts of the car are missing from view or are distorted. In this perspective, individual components of the car like a wheel or door handle are not usually or immediately present on a conscious level. It is difficult to judge either the Gestalt principle of perception or Atomismâ&#x20AC;&#x2122;s psychological theory as more or less correct, since every individual has different a perception or a different way of looking at things. Therefore, the way that the human mind achieves perceptual organization of its surroundings may remain an incomplete mystery indefinitely. However, contemporary psychology has a foundational understanding of how it works. According to the suggestions of the Gestalt Principles of Perception, the simplified visual form would be perceived easier at the end. The model would eventually create millions of images. The result is the combined image of the sum of the images on six different layers. Based on the Gestalt Theory, the final image would appear as a whole by the application of six images in similar aesthetic conditions. Then, if the images on the layers are too complex or too random, the result also becomes random in chaos. Moreover, it will become difficult to analyze.

Medium Analogue and Digital

The experiments and research were assessed through both analogue and digital models, not only separately but also simultaneously. The two different models have their own advantages and purposes. The analog model consists of six transparency layers with images, and there are supporting panels, which hold the layers straight up and together. Therefore, the stand can block the beholderâ&#x20AC;&#x2122;s view depending on the situation. In addition, the visible edges or boundaries of the layer can also be distracting. Also, this method is directly affected by aerial perspective. Clear spatial depth within the captured image can be obtained through aerial aspects such as light reflection, shadow, and blurring from the material, transparency sheet or flexi glass. On the other hand, since it is see through, the beholder can be distracted by the environment around, such as reflections of light and background. In addition, the beholder can switch his or her viewpoint quickly, since the beholder can move and rotate the model around by holding it with their hands. However, restriction occurs when the beholder tries to capture images of the model with either their eyes or camera. Due to its physical materials, the beholder can experience difficulty capturing images from the inside of the model or the space between two layers. This problem can be solved by making the model in a bigger scale, but this then becomes hard to hold and to move the model with hands. The digital model is designed in the virtual two and a half dimensions by using the CS6 After Effect. With the advantage of a computer-based program, the beholder can easily move viewpoint and focal point with freedom by simply entering x, y, and z values. Thus, the beholder gets free access to every available perspective from both inside and outside of the model. This works as the most significant advantage for the beholder in terms of the image capturing process. In addition, the digital model has total freedom from physical materiality and aerial distractions such as light reflection, background color, etc. However, there is no aerial perspective and the spatial depth is weaker than that of the analogue model, because the model

Project Plan and in Detail : Designing a Model Perspective Spatial Perception Medium - Analogue and Digital Perspective (techinique)

exists in a virtual space in a vacuum. Indeed, having a non-aerial perspective can create flat two-dimensional images as the final outcome, which cannot ever be produced using the analogue model.

PRACTICAL EXPERIMENTS

A COMPARISON BETWEEN SYSTEM AND ABSTRACTION APPLYING PATTERNS AND TEXTURE EXTRA EXPERIMENT - COLOR, TYPOGRAPHY PROVIDING PERSPECTIVE FOR THE AUDIENCE POSITIONING AND FRAMING

Perspective and Spatial Perception Perspective (techinique)

Comparison between System and Abstraction

All the practical experiments were conducted by using both the analogue and digital model. In addition, experiments are grouped and categorized in different sections below. Each practical experiment is inferred and analyzed according to its context. - COMPUTER GENERATED, GEOMANTIC ELEMENT IN SYSTEMATIC COMPOSITION : For the first experiment, an original image of a black rectangle, generated by computer, was applied to the system. The black rectangle on the original image was deconstructed into six small rectangles. The deconstruction was based on a golden ratio. The six rectangles were printed on six different layers without changing their position. Then, the six layers were applied to both an analog and a digital model. When they are processed in the model, the original black rectangle becomes visible from the font view, as the sum of its six parts. Each layer consists of a rectangle with sharp and fine edges. When the model was moved and rotated, it creates many different images, depending on its viewpoint. The captured image constructs completely different forms from the original image. The simple composition of the original image was totally replaced by a dynamic composition. Additionally, the black colored planes were combined by overlapping, merging together, and finally by reconstructing them into new compositions. The fine edges of each small rectangle works as evidence of perspective and the beholder can clearly understand the spatial depth. However, by analyzing the captured images, the beholder could easily predict outcome images from other perspectives without even looking at the model. This occured because the rectangular form was already familiar to the beholder and the perception automatically predicts images based on the stored data.

Practical Experiments Perspective and Spatial Perception Comparison,(techinique) System & Abstraction Perspective Pattern & Texture

- HANDMADE, NON-FIGURATIVE ELEMENTS IN ABSTRACT COMPOSITION : In comparison to the first experiment, an abstract ink painting was used as the original image. The ink painting was deconstructed as well and applied to the layers. Unlike the first experiment, the deconstructed images have unsystematic rough boundaries in their organic forms. Unlike the black rectangle used in the first experiment, the ink painting had small variations in its grey scale colors. Therefore, the deconstructed parts of the ink painting created a stronger spatial depth by overlapping with each other. Additionally, the original images were fully converted into new images, but the main concept or aesthetic remained. Another interesting aspect was that the linear perspective was unreadable and it was impossible to predict scenes from other viewpoints. When the beholder tried to track each form to read its perspective, the result ended up in total chaos. The resulting visual phenomenon was similar to Kandinskyâ&#x20AC;&#x2122;s paintings, mentioned in Chapter 4.4.

Applying Patterns and Texture

These experiments were conducted in order to perceive how different patterns and textures worked differently when they were applied to the model. To analyze the distinct variations, the selected patterns or textures were applied separately upon a single composition, the black rectangle which was used in Section 7.11. The composition of the black rectangle was selected as a template, because the outcome images from it were easy to read in simplicity. As the images in pattern and texture become more abstract and non-figurative, it loses more of its spatial aesthetics.

Perspective and Spatial Perception Perspective (techinique)

Extra Experiment

APPLYING COLORS : This experiment was also based on section 7.11. The black surfaces of six modules of the original rectangle were simply replaced by six different colors. The replacement in color made the perspective even more readable and more predictable. TYPOGRAPHY AS INPUT : The experiment also used typography as an input. The word ‘images’ was clearly readable before it was deconstructed into fragments. However, when the letters were broken into pieces within the space by moving the beholder’s perspective, the readability of the original typography was totally removed. The typography lost its full function and transformed into images in an abstract composition. Unlike other experiments, in which the main aesthetic of the original image remained in the results, the word ‘image’ totally lost its function and form. Furthermore, the original images of the other experiments above are mostly with abstract or non-representational images. In comparison, typography itself already consists of strong linguistic meaning and function, so that it worked similar to an objective image, which was why this experiment gave out entirely opposite results to the others.

Providing Perspective for the Audience

The final goal of this thesis is to construct complete liberty in perspective for the artist to produce images. In doing so, this will provide an open perspective for the audience, which is another goal. The open perspective in producing an image has already been proven by the above experiments. However, providing an open perspective for the viewer has not been established yet. Inspired by the ideas of El Lizziskyâ&#x20AC;&#x2122;s Proun, this experiment serves an open perspective for the viewer by adding an illusionary three-dimensionality. By adding isometric images, captured in different perspective, on the layers of the model, it provided multiple perspectives to the captured images. The viewer can be confused at first, trying to seek for the faithful perspective. However, the viewer is able to eventually pick one of the multiple viewpoints by focusing on a single part of the composition.

Perspective and Spatial Perception Perspective (techinique)

Positioning and Framing

When the beholder decides a certain viewpoint and captures the final image, the positioning and framing of the image can also make various differences. For example, the captured image, which is surrounded by black space, contains more spatial aesthetics than the images, whose composition continues infinitely to the outside of the frame.

CONCLUSION

Perspective and Spatial Perception Perspective (techinique)

In conclusion, the inference and analysis of the theories and experiments contained herein illustrate the visual phenomenon of perspective and human perception. Unfortunately, defining the process of understanding a visual object still remains shrouded in ambiguity, since the process occurs in an invisible philological world. In addition, the experience of viewing is subjective, depending on each individual’s stored knowledge. However, many artists and scholars have constantly been struggling to visualize and explain what they actually see and imagine throughout history. In the periods studied, creating an image was one of the most popular methods to share one’s vision with another. Perhaps, the artist depends too much upon personal belief and perception, which are subjective. Thus, the image might have been already limited in one’s mind even before it was physically produced in reality. In this case a subjective and limited perspective within the image might have remained and finally forced the audience’s perspective as well. Therefore, by introducing this spatial model, I have tried to initiate a complete liberty of perspective for both the artist and the viewer. Although the model is not yet perfect and has many limitations in composing certain kinds of images, I hope that it represents one more step forward towards explaining what we actually see.

Perspective and Spatial Perception Perspective (techinique)

REFERENCES

ENDNOTES BIBLIOGRAPHY IMAGE SOURCES

Perspective and Spatial Perception Perspective (techinique)

Endnotes

[1] Lessing, Gotthold Ephraim. Laocoon. London 1905. 70p. [2] “Perspective.” Dictionary.com. The Free On-line Dictionary of Computing, Web. 9 Aug. 2013. <http://dictionary.reference. com/browse/perspective>. [3]Sturken, Marita, and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. New York 2001. 151p. [4]Euclidean geometry is a mathematical system attributed to the Alexandrian Greek mathematician Euclid, which he described in his textbook on geometry: the Elements. Euclid’s method consists in assuming a small set of intuitively appealing axioms, and deducing many other propositions (theorems) from these. [5]Vasari, Giorgio, and Gaetano Milanesi. Le Vite De’ Più Eccellenti Pittori, Scultori Ed Architettori. Florence 1906. 287-288p; translated and quoted in “Masaccio.” Wikipedia. Wikimedia Foundation, 08 Dec. 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/masaccio>. [6]”Masaccio.” Wikipedia. Wikimedia Foundation, 08 Dec. 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/masaccio>. [7]”The Magpie (Monet).” Wikipedia. Wikimedia Foundation, 5 July 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/ The_Magpie_(Monet)>. [8]Rashdall E. M. “Claude Monet.” The Artist” London 1888., [9]Arnason, H. History of Modern Art: Painting, Sculpture, Architecture. New York 1983. 9p. [10]Rabinovich, Yakov. “Kandinsky:Master of the Mystic Arts.” Rabinovich/Kandinsky. Web. 9 Aug. 2013. [11]Rabinovich, Yakov. “Kandinsky:Master of the Mystic Arts.” Rabinovich/Kandinsky. Web. 9 Aug. 2013.

[12]”El Lissitzky.” Russian Constructivists. Web. 9 Aug. 2013. <http://russianconstructivists.blogspot.co.uk/p/el-lissitzky. html>. [13]unovsia - (also known as MOLPOSNOVIS and POSNOVIS) was a short-lived but influential group of Russian artists, founded and led by Kazimir Malevich at the Vitebsk Art School in 1919. Initially formed by students and known as MOLPOSNOVIS, the group formed to explore and develop new theories and concepts in art. Under the leadership of Malevich they renamed to UNOVIS, chiefly focusing on his ideas on Suprematism and producing a number of projects and publications whose influence on the avant-garde in Russia and abroad was immediate and far-reaching. The group disbanded in 1922. The name UNOVIS is an abbreviation in Russian of “Utverditeli Novogo Iskusstva” or “The Champions of the New Art,” while POSNOVIS was an abbreviation of “Posledovateli Novogo Iskusstva” or “Followers of the New Art”, and MOLPOSNOVIS meant “Young Followers of the New Art.” [14]Margolin, Victor. The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy. 1917-1946. Chicago 1997, 32p [15]”Contributions to the Physiology of Vision. – Part the First. On Some Remarkable, and Hitherto Unobserved, Phenomena of Binocular Vision. By CHARLES WHEATSTONE, F.R.S. London.” Stereoscopy.com. Web. 9 Aug. 2013. <http://www.stereoscopy. com/library/wheatstone-paper1838.html>. [16]”Visual Perception.” Wikipedia. Wikimedia Foundation, 7 June 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/ visual_perception>. [17]”David Marr (neuroscientist).” Wikipedia. Wikimedia Foundation, 17 May 2013. Web. 9 Aug. 2013. <http://en.wikipedia. org/wiki/David_Marr_(neuroscientist)>.

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Arnason, H. Harvard. History of Modern Art: Painting, Sculpture, Architecture. New York: H.N. Abrams, 1983. Print.

Johnson, Michael. “Cubism: Multiple Viewpoints, Fractured Perspectives.” Knoji Consumer Knowledge. N.p., n.d. Web. 9 Aug. 2013. <http://arthistory.knoji.com/cubismfractured-perspectives/>.

“Perspective (visual).” Wikipedia. Wikimedia Foundation, 4 July 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/Perspective_(visual)>.

Aujoulat, Nobert. “La Grotte De Lascaux.” Lascaux. French Ministry of Culture and Communication, n.d. Web. 9 Aug. 2013. <http://www.lascaux.culture.fr/>. “The Cave Paintings of the Lascaux Cave.” Bradshaw Foundation. Bradshaw Foundation, n.d. Web. 9 Aug. 2013. <http:// www.bradshawfoundation.com/lascaux/>. “Contributions to the Physiology of Vision. – Part the First. On Some Remarkable, and Hitherto Unobserved, Phenomena of Binocular Vision. By CHARLES WHEATSTONE, F.R.S. London.” Stereoscopy.com. N.p., n.d. Web. 9 Aug. 2013. <http://www. stereoscopy.com/library/wheatstone-paper1838.html>. Cottington, David. Cubism. Cambridge [England: Cambridge UP, 1998. Print. “David Marr (neuroscientist).” Wikipedia. Wikimedia Foundation, 17 May 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/ David_Marr_(neuroscientist)>. “Depth Perception.” Wikipedia. Wikimedia Foundation, 7 Aug. 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/ Depth_perception>. Dickerman, Leah, and Matthew Affron. Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art. New York: Museum of Modern Art, 2012. Print. “El Lissitzky.” Russian Constructivists. N.p., n.d. Web. 9 Aug. 2013. <http://russianconstructivists.blogspot.co.uk/p/el-lissitzky.html>. Elkins, Jim. “What Is Perspective?” Science Art & Technology. The Art Institute of Chicaga, 7 Jan. 2007. Web. 9 Aug. 2013. <http://www.artic.edu/aic/education/sciarttech/2d1.html>.

Lessing, Gotthold Ephraim, and Robert J. Phillimore. Laocoon. London: Routledge, 1905. Print. Margolin, Victor. The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946. Chicago: University of Chicago, 1997. Print.

Rabinovich, Yakov. “Kandinsky:Master of the Mystic Arts.” Rabinovich/Kandinsky. N.p., n.d. Web. 9 Aug. 2013. Rashdall E. M. “Claude Monet.” The Artist [London] 2 Feb. 1888, IX ed.: n. pag. Print.

“Masaccio.” Wikipedia. Wikimedia Foundation, 08 Dec. 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/masaccio>.

Remko, Scha. “From Suprematism to the Monochrome.” Radical Art. Institute of Artificial Art Amsterdam, Department of Art History, n.d. Web. 9 Aug. 2013. <http://radicalart.info/nothing/ monochrome/MalevichRodchenko/>.

Netto, Jeffrey A. “Rembrandt and the Technique of Chiaroscuro.” Nettonet. N.p., 1999. Web. 9 Aug. 2013. <http://www. nettonet.org/Nettonet/101 Painting/Studies/Chiroscuro.htm>.

Sturken, Marita, and Lisa Cartwright. Practices of Looking: An Introduction to Visual Culture. Oxford ; New York: Oxford UP, 2001. Print.

Newberry, Michael. “Transparency: A Key to Spatial Depth, B/W Part 1 by Michael Newberry.” Newberry. N.p., May 2006. Web. 9 Aug. 2013. <http://michaelnewberry.com/mentor/Tutorial/ trans/trans.html>.

“The Magpie (Monet).” Wikipedia. Wikimedia Foundation, 5 July 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/ The_Magpie_(Monet)>.

“Op Art History.” Op-Art.co.uk. N.p., n.d. Web. 9 Aug. 2013. <http://www.op-art.co.uk/history/perspective/>. “Perception.” Wikipedia. Wikimedia Foundation, 22 July 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/Perception>. “Perspective.” Dictionary.com. The Free On-line Dictionary of Computing, n.d. Web. 9 Aug. 2013. <http://dictionary.reference. com/browse/perspective>. “Perspective Drawing - Linear and Aerial Perspective.” Artfactory. N.p., n.d. Web. 9 Aug. 2013. <http://www.artyfactory.com/ perspective_drawing/perspective_index.html>.

Vasari, Giorgio, and Gaetano Milanesi. Le Vite De’ Più Eccellenti Pittori, Scultori Ed Architettori. Florence: G. C. Sansoni, 1906. Print. “Visual Perception.” Wikipedia. Wikimedia Foundation, 7 June 2013. Web. 9 Aug. 2013. <http://en.wikipedia.org/wiki/visual_perception>.

Image Sources

Fig1 The Crossed Bison, Cave of Lascaux 30000 BC <http://www.donsmaps.com/images19/lascauxIMG_1096.jpg> Fig2 Horse Heads, Chauvet cave Ardèche 30000 BC <http://www.ghostsigns.co.uk/wp-content/uploads/2012/06/ Horse-heads-in-Chauvet-cave-Ard%C3%A8che.jpg> Fig3 Brunelleschi’s Perspective <http://maitaly.files.wordpress.com/2011/04/0328p_duomo6_b.jpg> Fig4 The Tribute Money, Masaccio, 1425 <http://en.wikipedia.org/wiki/File:Masaccio7.jpg> Fig5 School of Athens, Raphael 1505 <http://upload.wikimedia.org/wikipedia/commons/c/c3/Raphael_School_of_Athens.jpg> Fig6 Cena in Emmaus, Caravaggio, 1601 <http://en.wikipedia.org/wiki/File:Caravaggio_-_Cena_in_Emmaus.jpg> Fig7 Self-Portrait, Rembrandt, 1659 < http://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/ Rembrandt_van_Rijn_-_Self-Portrait_-_Google_Art_Project. jpg/220px-Rembrandt_van_Rijn_-_Self-Portrait_-_Google_Art_ Project.jpg >

Fig12 Still-life Chair Caning, Picasso, 1912 <http://khan.smarthistory.org/assets/images/images/Picasso_Chair.jpg>

Fig23 Proun, Lissitzky, 1922-3 <http://www.artexpertswebsite.com/pages/artists/artists_l-z/ lissitzky/8.lissitzky.jpg>

Fig13 Les Demoiselles d’Avignon, Picasso, 1910 <http://upload.wikimedia.org/wikipedia/en/thumb/4/4c/ Les_Demoiselles_d%27Avignon.jpg/579px-Les_Demoiselles_d%27Avignon.jpg>

Fig24 Proun #93, Lissitzky 1924 <http://1.bp.blogspot.com/-W64KjUgEu30/TozDd6xmBEI/ AAAAAAAAC-o/sRVLstGhIs0/s320/construtivismo+russo.jpg>

Fig14 White, Kandinsky, 1923 <http://upload.wikimedia.org/wikipedia/en/3/39/Kandinsky_white.jpg> Fig15 Composition VII, Kandinsky, 1913 <http://upload.wikimedia.org/wikipedia/en/4/49/Kandinsky_WWI.jpg> Fig16 Composition with Yellow, Blue and Red, Mondrian, 1937 <http://upload.wikimedia.org/wikipedia/en/7/72/Mondrian_CompRYB.jpg> Fig17 White on White, Malevich, 1918 <http://3.bp.blogspot.com/_3_tLQcLemOU/TT899daQWJI/ AAAAAAAABPU/Afo70NqtVyw/s400/malevich-whiteonwhite. jpg> Fig18 Still Life with Fan, Braque, 1910 <http://knoji.com/images/user/CRI_106213.jpg>

Fig8 Four Dances, Degas, 1900 <http://uploads8.wikipaintings.org/images/edgar-degas/ four-dancers-1900.jpg!Blog.jpg>

Fig19 The Poet, Picasso, 1911 <http://knoji.com/images/user/Picasso_Poet.jpg>

Fig9 Sunrise, Monet, 1972 <http://en.wikipedia.org/wiki/File:Claude_Monet,_Impression,_ soleil_levant,_1872.jpg>

Fig20 Bottle of Vieux Marc, Glass, and Newspaper, Picasso, 1913 <http://knoji.com/images/user/vieuxmrc.jpg>

Fig10 The Saint Lazare Station, Monet, 1877 <http://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/ Claude_Monet_004.jpg/739px-

Fig21 Proun 12E, Lissitzky, 1923 <http://1.bp.blogspot.com/-f0J4F047XxI/UI1FDrW8htI/ AAAAAAAAABs/NUyRqKYMook/s1600/pn43.jpg>

Fig11 The Large Bathers, Cezanne, 1906 <http://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Paul_C%C3%A9zanne_047.jpg/709px-Paul_C%C3%A9zanne_047.jpg>

Fig22 Proun, Lissitzky, 1925 <http://www.artexpertswebsite.com/pages/artists/artists_l-z/ lissitzky/5.lissitzky.jpg>

Fig25 Anamorphic-Illusions, Rousse <http://superconnasses.files.wordpress.com/2007/12/georges-rousse-2.jpg> Fig26 Anamorphic-Illusions, Rousse <http://superconnasses.files.wordpress.com/2007/12/georges-rousse.jpg> Fig27 Anamorphic-Illusions, Varini <http://superconnasses.files.wordpress.com/2007/12/felice-varini-2.jpg> Fig28 Anamorphic-Illusions, Varini <http://superconnasses.files.wordpress.com/2007/12/felice-varini.jpg> Fig29 Anamorphic-Illusions, Varini <http://superconnasses.files.wordpress.com/2007/12/felice-varini-3.jpg>

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DESIGN PROCESS DOCUMENTATION

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Inspiration

Alexander Calder, Black, Red, Blue, 1968 through Different Perspectives

La PietĂ , Michelangelo, 1498 - 1499 through Different Perspectives

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Walt Disney Concert Hall, Frank Gehry, 1999 - 2003 through Different Perspectives

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Related Theory Cubism

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Although thesis advisors always play a large role in the inspiration, development, and conclusion of the thesis, I believe that my own primary mentors, Prof. Philipp Stamm, Dr. Invar-Torre Hollaus, Leander Eisenmann, deserve special mention. They have provided a perfect blend of big thinking and practical guidance. I am thankful for having the chance to work closely with them and proud of our accomplishments. I also thank Prof. Michael Renner and Prof. Dr. Nicolaj van der Meulen for encouraging me to develop solid understanding of fundamentals by coordinating perfect courses for two years. Also, it has been great time to study in Basel School of Design. I would like to say thank you to all friends and students and special thank to Jinsu Ahn. Ondrej JelĂnek and Timothy Hall, you are the best. Finally, I thank my parents and sister, Taesang Lee, Kyung Lim Joo and Sun Min Lee.

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Generating and Recognizing Images Created by Time and Space

Perspective and Spatial Perception Perspective (techinique)

UNIVERSITY OF APPLIED SCIENCES AND ARTS NORTHWESTERN SWITZERLAND ACADEMY OF ARTS AND DESIGN, VISUAL COMMUNICATION INSTITUTE MASTER OF ARTS IN VISUAL COMMUNICATION AND ICONIC RESEARCH Master Thesis 2013 Mentors: Prof. Philipp Stamm, Dr. Invar-Torre Hollaus, Leander Eisenmann Witten and Edited by Jang Seop Lee Contact 60-48 Sungbuk-ku, Sungbuk-dong 136020 Seoul, Republic of Korea jang.lee30@gmail.com In presenting this thesis in partial fulfillment of the requirements for a Master’s degree at FHNW HGK VISCOM. I agree that the Library shall make its copies freely available for ins-pection. I further agree that extensive copying of this thesis is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the Copyright Law. Any other reproduction for any purposes or by any means shall not be allowed without my written permission.

Signature Date 13.09.2013

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Perspective and Spatial Perception Perspective (techinique)