1. ⁘  ⁘  ⁘
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Perception & Senses

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  • Not intended to be read until you have seen

    This is not a catalogue because there is no list of works. The exhibition will comprise three spaces in which three artists will have made their art. At the moment of writing we are not sure exactly what they will do—and we cannot know how what they do will appear to us. Therefore we cannot attempt to help you perceive it. So this is also not truly an introduction to the art. It is not intended to be read until you have seen the exhibition.

    Michael Compton, Phenomenal: An Introduction
    • perception
    • seeing
  • A kind of moiré pattern

    Everything that we can see, everything that we can understand, is related to structure, and, as the gestalt psychologists have so beautifully shown, perception itself is in patterns, not fragments. All awareness or mental activity seems to involve the comparison of a sense or thought pattern with a preexisting one, a pattern formed in the brain’s physical structure by biological inheritance and the imprint of experience. Could it be that aesthetic enjoyment is the formation of a kind of moiré pattern between a newly sensed experience and the old; between the different parts of a sensed pattern transposed in space and in orientation and with variations in scale and time by the marvelous properties of the brain?

    It is what is left over when what is expected has been canceled out.

    Structure, Substructure, and Superstructure
    • structure
    • aesthetics
    • perception
  • Who's Afraid of Red, Yellow, & Blue^3

    IMG_6289.jpg

    Lawrence Weschler:

    The red, for example, wasn't simply red – or rather it was: the surface was covered over in a completely even gloss of lipstick red paint – but (had it been doing that before?) the panel was reflecting ambient conditions like crazy, so much so that in fact almost none of the surface, strictly speaking, was red. Pool-like, it was reflecting the yellow ceiling panel beyond, whose own color was in turn being affected by the blue floor piece beyond that. There were purple effects and green, a sort of even bruise-brown hovering over the entire array when one now viewed the gallery from the side.

    Robert Irwin, Robert Irwin: A Conditional Art
    • color
    • perception
  • 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.

    Matthew Simms, Robert Irwin: A Conditional Art
    • modernism
    • art
    • senses
    • perception
  • 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 of silhouettes shadows dapples clouds airspaces sun earth glowing. Your only language is vision.

    Edward Tufte, Seeing With Fresh Eyes
    1. ​​Seeing Is Forgetting the Name of the Thing One Sees​​
    2. ​​Learning to See​​
    • seeing
    • art
    • perception
  • 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.

    Cyril Stanley Smith, The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy
    • physics
    • perception
  • 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'.

    David Pye, The Nature and Aesthetics of Design
    1. ​​The innocence of the eye​​
    2. ​​the innocent i​​
    • seeing
    • perception
    • learning
    • instinct
  • 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.

    John Ruskin, The Elements of Drawing
    1. ​​The skill of perception​​
    2. ​​the innocent i​​
    • i
    • seeing
    • perception
  • 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.

    David Pye, The Nature and Aesthetics of Design
    1. ​​Time and space​​
    • beauty
    • perception
    • seeing
  • 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.

    Jenny Keller, Why Sketch?
    • perception
  • 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.

    Josef Albers, Interaction of Color
    • perception
    • meaning
  • 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.

    Josef Albers, Interaction of Color
    • perception
  • The Weber-Fechner law

    img_20180305_001114.565.jpg

    Exponential increases in physical stimuli produce linear perceptual increases.

    Josef Albers, Interaction of Color
    • perception
  • 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."

    Kevin Lynch, The Image of the City
    • nature
    • perception
    • images
  • 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."

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • perception
    • seeing
  • 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.

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • experience
    • perception
  • 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."

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • perception
    • food
  • 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

    Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees
    • art
    • perception
    • seeing
  • The Sense of Order

    A Book by E. H. Gombrich
    1. ​​The Tiling Patterns of Sebastien Truchet and the Topology of Structural Hierarchy​​
    • perception
    • art
    • order
  • Art and Illusion

    A Book by E. H. Gombrich
    1. ​​The language of art​​
    • perception
    • art
    • seeing
  • Perfectly Clear (Ganzfield)

    An Artwork by James Turrell
    publicdelivery.org
    8E113127-DC0E-47C3-BF66-1895013652F5.jpeg
    1. ​​Light and Space​​
    • light
    • perception
  • Color Controversy

    A Website by Leo Robinovitch
    colorcontroversy.com
    Screenshot of colorcontroversy.com on 2020-10-08 at 9.32.58 AM.png

    So 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!

    • color
    • vision
    • perception
    • microsites

See also:
  1. seeing
  2. art
  3. color
  4. meaning
  5. beauty
  6. i
  7. structure
  8. aesthetics
  9. nature
  10. images
  11. learning
  12. instinct
  13. food
  14. experience
  15. order
  16. physics
  17. vision
  18. microsites
  19. modernism
  20. senses
  21. light
  1. Robert Irwin
  2. Lawrence Wechler
  3. Josef Albers
  4. David Pye
  5. E. H. Gombrich
  6. John Ruskin
  7. Jenny Keller
  8. Kevin Lynch
  9. Cyril Stanley Smith
  10. Leo Robinovitch
  11. Edward Tufte
  12. Matthew Simms
  13. James Turrell
  14. Michael Compton