Perception & Senses
A kind of moiré pattern
Who's Afraid of Red, Yellow, & Blue^3
Art as art
If modern painting is "art as art," this means, to paraphrase Reinhardt, that is represents nothing and exists only in and for itself. If this has created an "art language, with an art communication," this is because this kind of art has implied all along a form of intimate contact with its viewer, in which the viewing of "art as art" becomes "sensation as sensation" or "perception as perception." This distinguishes "modern painting" from representational painting, which exhibits duality, that is, it uses imagery to refer to "past experiences and feeling," and to "color and reconstruct in the mind" associations that are meaningful, but that take the viewer far away from the specifics of the encounter with the painting before them.
Your only language is vision
To see with fresh, uninstructed eyes and an open mind requires a deliberate, self-aware act by the observer. Abstract artworks represent themselves and should be first viewed for themselves. When looking at outdoor abstract pieces, concentrate initially on the unique optical experience produced by the artworks. See as the artist saw when making the piece.
A focus on optical experience does not deny stories, it postpones them. Viewing an artwork may evoke interesting narratives – or just tedious artchat recalling similar art or artists, concocting playful tales, realizing how scrap metal was repurposed into art, making judgments about the artist's intentions or character, or contemplating an artwork's provenance, price, politics. Let the artwork stand on its own. Walk around fast and slow, be still, look and see from
up down sideways close afar above below
, enjoy the multiplicity ofsilhouettes shadows dapples clouds airspaces sun earth glowing
. Your only language is vision.Corpuscles of nothing and atoms of something
The structure of matter devolved ultimately into the intimate coexistence of something like corpuscles of nothing and atoms of something, segregating through the accidents of history to yield regions differing in density intimately interwoven on different scales. The experience of the world as well as human perception and analysis of any part of it is a matter of the angular scale of resolution and of the time necessary for making comparison between the different parts.
Without such variations and without time to compare remembrances of them, nothing can be experiences.
The skill of perception
The newborn baby and the [blind man suddenly gifted with sight] do not have to learn to see. Sight is given to them. But they do have to learn to perceive. Perception is learnt and learnt slowly. Skill is required for perception as for speech. We are largely unaware of the skill we exercise. None of the things we have to learn to perceive are self-evident, or, apparently, instinctively evident. No doubt, however, we have an instinctive aptitude for this learning, and once we have learnt we cannot easily see as though we had not.
As Ruskin says, one has to strive, if one is to see with the 'Innocent Eye'.
The innocence of the eye
The perception of solid form is entirely a matter of experience. We see nothing but flat colors; and it is only by a series of experiments that we find out that a stain of black or grey indicates the dark side of a solid substance... The whole technical power of painting depends on our recovery of what may be called the innocence of the eye; that is to say, of a sort of childish perception of these flat stains of color, merely as such, without consciousness of what they signify, as a blind man would see them if suddenly gifted with sight.
It will not stand still to be pointed at
The cause of the experience of beauty is a series of events, not a state of affairs existing continuously. That perhaps is why the cause of the experience is something we find impossible to point out. It will not stand still to be pointed at. We can point out only what we perceive. We can never point out or describe what we see.
Color reproduction
In-person, live observation of color is a practice for which I feel there is no adequate substitute. Photographs are often imprecise in reproducing color.
50 reds
If one says “Red” (the name of a color)
and there are 50 people listening,
it can be expected that there will be 50 reds in their minds.
And one can be sure that all these reds will be very different.Scotopic seeing
The sensitivity
and consequently the registration of the retina of an eye is different
from the sensitivity and registration of a photographic film.Normally, black-and-white photography registers all lights lighter
and all darks darker than the more adjustable eye perceives them.
The eye also distinguishes better the so-called middle grays,
which in photography are often flattened if not lost.This shows what a higher key in light can lose in photography.
The greatest advantage the eye has over photography
is its scotopic seeing in addition to its photopic seeing.
The former means, briefly, the retinal adjustment to lower light conditions.The Weber-Fechner law
Exponential increases in physical stimuli produce linear perceptual increases.
As plain as day
The personal experience of most of us will testify to this persistence of an illusory image long after its inadequacy is conceptually realized. We stare into the jungle and see only the sunlight on the green leaves, but a warning noise tells us that an animal is hidden there. The observer then learns to interpret the scene by singling out "give-away" clues and by reweighting previous signals. The camouflaged animal may now be picked up by the reflection of its eyes. Finally by repeated experience the entire pattern of perception is changed, and the observer need no longer consciously search for give-aways, or add new data to an old framework. They have achieved an image which will operate successfully in the new situation, seeming natural and right. Quite suddenly the hidden animal appears among the leaves, "as plain as day."
Three or more
"One and one don't make two, but maybe five or eight or ten, depending on the number of interactions you can get going in a situation."
There and not there
For what Bob was trying to capture in these efforts was the incidental, the transitory, the peripheral—that aspect of our experience that is both there and not there, the object and not the object of our sensations, perceived but seldom attended to.
Waiting there to be experienced
"Paintings are like what you can barely make out through a keyhole compared with the richness of perception that's just waiting there in the world to be experienced all the time. It's strange. With food, for instance, people seem able to understand what's involved: you savor the taste rather than just feed the body. But people have a hard time understanding that it should be the same way with visual experience."
The human reality of perception
"The great misinterpretation of twentieth-century art is the claim advanced that many people, especially critics, that cubism of necessity led to abstraction. But on the contrary, cubism was about the real world. It was an attempt to reclaim a territory for figuration, for depiction. Faced with the claim that photography had made figurative painting obsolete, the cubists performed an exquisite critique of photography; they showed that there were certain aspects of looking—basically the human reality of perception—that photography couldn't convey, and that you still needed the painter's hand and eye to convey them." — David Hockney
The Sense of Order
A Book by E. H. GombrichArt and Illusion
A Book by E. H. GombrichPerfectly Clear (Ganzfield)
An Artwork by James TurrellColor Controversy
A Website by Leo RobinovitchSo some friends and I were talking about colors one day and how we all see colors a bit differently and how that's neat.
But is there a color that is interpreted differently THE MOST? Is there a most controversial color? Well, (if I contrive an ongoing survey and collect data about it), the answer is yes, of course!
What 80% Comprehension Feels Like
One of the major principles of extensive reading is that if a learner can comprehend material at 98% comprehension, she will acquire new words in context, in a painless, enjoyable way. But what is 98% comprehension?
98% comprehension
You live and work in Tokyo. Tokyo is a big city. More than 13 million people live around you. You are never borgle, but you are always lonely. Every morning, you get up and take the train to work. Every night, you take the train again to go home. The train is always crowded. When people ask about your work, you tell them, “I move papers around.” It’s a joke, but it’s also true. You don’t like your work. Tonight you are returning home. It’s late at night. No one is shnooling. Sometimes you don’t see a shnool all day. You are tired. You are so tired…
95% comprehension
In the morning, you start again. You shower, get dressed, and walk pocklent. You move slowly, half- awake. Then, suddenly, you stop. Something is different. The streets are fossit. Really fossit. There are no people. No cars. Nothing. “Where is dowargle?” you ask yourself. Suddenly, there is a loud quapen—a police car. It speeds by and almost hits you. It crashes into a store across the street! Then, another police car farfoofles. The police officer sees you. “Off the street!” he shouts. “Go home, lock your door!” “What? Why?” you shout back. But it’s too late. He is gone.
80% comprehension
“Bingle for help!” you shout. “This loopity is dying!” You put your fingers on her neck. Nothing. Her flid is not weafling. You take out your joople and bingle 119, the emergency number in Japan. There’s no answer! Then you muchy that you have a new befourn assengle. It’s from your gutring, Evie. She hunwres at Tokyo University. You play the assengle. “…if you get this…” Evie says. “…I can’t vickarn now… the important passit is…” Suddenly, she looks around, dingle. “Oh no, they’re here! Cripett… the frib! Wasple them ON THE FRIB!…” BEEP! the assengle parantles. Then you gratoon something behind you…