Many people know for sure the optical effect of the young and old on the page. The process is the same illusion. Stimuli are sent to the brain subjected to two different interpretations, the brain system is able to produce and to provide both alternately. If the eye takes into account the totality of the visual pattern, the image that appears is that of the old, but if the vision is more detailed, as depicted in the drawing is a side view of a young man. In fact, you can completely fool the brain when to light stimuli as a framework consistent with those of objective reality. There are paintings indistinguishable from photography that have the character to disperse the same amount of light in the photo. The decoding brain concludes simpler and faster. Given that photography is more space in everyday life, there will be more easy to believe that this is not a framework. It is quite common for the brain to arrive at summary conclusions and hasty, however the response time can not be that brevi.L 'identification of the object comes from the stimuli that the eye sends to the brain and from the archive of knowledge brain system. A circle in perspective is seen as an oval shape, unless you add other image data elements that can be traced back to a known object in a circular shape. At this point, the stimuli do not go to make up the image that the brain sees, but what conosce.La same perspective is an illusory reality of a given depth artfully constructed to fool the eye. For viewing experience we know that distant objects appear smaller. The more the distance increases as the size is reduced. We are therefore in the presence of a mathematical proportion that can lead to an exact calculation of the distance illusion. Especially as the canvas upon which the prospect has drawn a thick frame, the more the effect of depth appears solid. It is no coincidence then that the works of nature, forward-frames serve to increase the feeling of depth that the artist wants to achieve. The picture frame is nothing but a window through which to see the world. The reasons for the greater effectiveness of the illusory landscape neatly into a frame, are given both from the perspective itself, is that the brain recognizes the image window as a place to see the surrounding reality. If the brain say that we are looking through a window and if it can contain an illusory reality, the game is almost done, we will have the feeling of reality objective even if built on the flat surface of two-dimensional framework. Perspective. At some point in history, and more specifically in the Renaissance, there was a need to bring in a picture as you could get us into elements. It 'clear that it was not only an expedient practical but also symbolic of a need, since the Renaissance, using the philosophy and mathematics, in its program had already exceeded the two-dimensionality of the Middle Ages. The art is not just for this evolution and has produced in every age and make them as search capabilities to their needs, in fact adhering to its own time. If the Renaissance, through the perspective has imposed its own language, it is because the transition from figuration to the symbol found in the tool a deadly ally. The art of mosaics in the Middle Ages through the vitality of colored tiles had frozen in the image of religious mysticism, is superseded by another design contemplative governed by the principle that the more the image is pretty much the closest to Dio.Sappiamo the prospect that favors the viewpoint from which to observe the unfolding visual event. Man can form the point of view as a natural person, God does not. It also explains in this way, the luck of the perspective in the Renaissance. How would could the Middle Ages, based on a program to forge a theocentric perspective view of existence? The open window is on the man who looks and constituting the point of view becomes the master of space that opens his eyes. Any universality to be one, must go through the rational acceptance of such language to which it relates. The mathematical basis by which the perspective is objective and therefore its origin rule. The fall appearance of symbolic art in favor of the allegory, produced during the Renaissance abuse superficial content. The symbol is a very deep of the mind, the allegory of a system of representation circumscribed to the circle, but extended to all, then the level of communication. Any plan that uses the flow of communication to reach their destination, must come to terms with the loss of effectiveness of the original conception. The symbol has always represented the essence of thought, flowing allegory sees compromised its effectiveness. If the symbol speaks to the genre, the representation speaks to the individual. The linguistic difference is remarkable. The allegory of representation has the advantage to be understood by everyone, but SINCE keep the light, may have the disadvantage of not speaking the language of the Deep anyone.
Balance is when two opposing forces are balanced in the sale of energy to each other. Weight between gravitational force of black and white proving the equilibrium point is given by the gray. For humans, the condition of equilibrium is not only physical but also mental. Our existence requires concepts that have their polar opposite, this polarity is always included in the balance. Balance is the paradigm of the body where the operation of a system depends on the relationship between the parties. The symmetry is only one aspect of the forces acting on the image panel, the most interesting fact to escape a first and easy to read. What is the concept of "classic" if you do not balance between beauty and vitality? All systems include polarity have a fragile and precarious balance contact. As in "classic" vitality may transfer energy to the beauty and vice versa, it is difficult for the boat plowing through the river to keep perfectly equidistant from the banks. And 'the precarious balance of the characteristic forms of the highest degree. The farther away from stability, as the forces acting on the balance become vital. We investigate the space through the lines of force acting on the structure and realizing that the fields visuals are governed by their own energy. The lines of force of the square, for example, act on the diagonal. The major point of equilibrium is given by the intersection point, which is in fact a place of greater attraction and repulsion of the square. When we place an object on the table, we act on the lines of force of the plan.
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