Art is the one medium in which one cannot lie successfully When we build, say, a business area in which all (or practically all) are engaged in earning their livings, or a residential area in which everyone is deep in the demands of domesticity, or a shopping area dedicated to the exchange of cash and commodities—in short, where the pattern of human activity contains only one element, it is impossible for the architecture to achieve a convincing variety—convincing of the known facts of human variation. The designer may vary color, texture and form until his drawing instruments buckle under the strain, proving once more that art is the one medium in which one cannot lie successfully. Jane Jacobs, The Death and Life of Great American Cities arttruthliesmedia
The effort heuristic Psychologists have noted that people tend to place greater artistic value on images when they can see the work that has gone into them — a tendency known as the “effort heuristic”. They are also more likely to connect emotionally with the work if they can detect the human hand, says Goldsmiths’ Chamberlain. “There’s an argument that if we see a brush stroke, we almost recreate it, and that’s part of the connection we feel with the artist — you can feel the intention.” Perhaps to capitalize on this, some architects now show presentation drawings that look hand-drawn but are actually generated entirely by computer. “It’s totally fake,” says Brillhart. “They just take a computer image into Photoshop and put filters over it to make it look like it’s drawn by hand. It’s kind of amusing — instead of just sitting down and drawing for an hour, they spend eight hours making it look like a hand drawing.” Nick Jones, Back to the Drawing Board liespsychologydeception
Time and space Tones appear placed and directed predominantly in time from before to now to later. Their juxtaposition in a musical composition is perceived within a prescribed sequence only. Horizontally, the tones follow each other, perhaps not in a straight line, but of necessity in a prescribed order and only in 1 direction – forward. Tones heard earlier fade, and those farther back disappear, vanish. We do not hear them backward. Colors appear connected predominantly in space. Therefore, as constellations they can be seen in any direction and at any speed. And as they remain, we can return to them repeatedly and in many ways. This remaining and not remaining, or vanishing and not vanishing, shows only 1 essential difference between the fields of tone and color. The accuracy of perception in one field is matched by the durability of retention in the other, demonstrating a curious reversal in visual and auditory memory. Josef Albers, Interaction of Color It will not stand still to be pointed at