nicholas wade, university of dundee · 2020. 2. 3. · the rules of image formation on a picture...
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Scientific Art or Artistic Science?
Nicholas Wade, University of Dundee
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Artists represent natural phenomena whereas scientists interpret them.
“Visual
illusions”
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Pictures are devoid of two dimensions present in objects – depth and
motion. The depth is allusory and the motion is implied.
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I will argue that artists have
influenced science in the
context of space.
On the other hand, scientists
have affected the ways in
which motion is represented.
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“Digital picture”
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In the 1920s, Gestalt psychologists described the ways in which
elements of patterns are grouped together perceptually.
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“Good Gestalt I”
Max Wertheimer (1880-1943)
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“Good Gestalt II”
Franz Koffka (1886-1941)
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“Good Gestalt III”
Wolfgang Köhler (1887-1967)
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Mosaic of Ocean (from the 2nd century). Roman mosaics manipulated
the elements of pictures (tesserae) to produce complex Gestalten. The
artists demonstrated their knowledge of pictorial principles rather than
the interpretations of them.
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Mosaic from House of the Evil Eye, Antioch (2nd century)
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A 4th century mosaic floor from London
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Gestalt psychologists were also intrigued by perceptual ambiguities,
like the Necker cube and Rubin’s vase/faces figure, literal variants of
which are shown here.
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Ambiguities of profiles and vases (like that by Crussaire in 1799) were
exploited in art long before they were examined in visual science.
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Mosaic figure-ground alternation in circular designs
(Antioch 2nd century).
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Reversible perspective cubes from a mosaic at Antioch (2nd century)
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Good continuations occur with both radiations and
circles. Mosaic floor from Rome (2nd century).
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Shape from shading. A relief swastika design, and ambiguous
perspectival blocks (Antioch 2nd century).
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Geometrical mosaics displaying ambiguous depth, from (left) the
House of Dionysos, Cyprus, late 3rd century, and (right) House of the
Evil Eye, Antioch, 2nd century.
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A 2nd century Roman beaker with an upright and inverted head.
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16th and 17th century representations of arrogance and folly as well as
a Double Head of Pope and Devil.
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An Italian artist called Giuseppe from around 1700 showed that
species and gender barriers could be crossed with inverted figures!
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Rex Whistler (1905-1944) used the technique extensively.
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George Malcolm Stratton (1867-1937) studied inversion using
mirrors and prisms.
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Artists have revelled in the ambiguity afforded by the compression
of three dimensions to two, and few more so that Salvador Dali
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“Dali’s image
disappears”
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“The
Skull of
Dali”
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“Ceci n’est pas
Magritte”
René Magritte
revelled in the
ambiguity of the
picture plane and
also that between
word and image.
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“The Rape of
Magritte”
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“The integrity of words”
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The rules of image formation on a picture were determined two
centuries before the same principles were applied to the eye.
Filippo Brunelleschi (left) produced pictures in perspective before
1420, whereas Johannes Kepler (right) described the formation of
an image on the retina in 1604.
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No sooner had the rules of perspective been formulated than
they were distorted. Leonardo da Vinci produced examples of
distorted perspectives or anamorphoses.
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Jean-François Niceron (1613-1646) described the construction and
mathematics of these curious perspectives. He produced linear,
conical, and cylindrical (mirror) anamorphoses.
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The optical principles on which
anamorphoses are based are
precisely those used by
Adelbert Ames (1880-1955) in
his perceptual demonstrations.
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Cubists, like Pablo Picasso, were producing essentially 2 ½ D
sketches related to those depicted by visual scientist David Marr.
“Cubist” “2 ½ D sketch”
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Brunelleschi’s vision was monocular, whereas that of Leonardo was
binocular. His deliberations over ‘natural perspective’ led him to
examine the depth seen with two eyes.
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“Mirror stereoscope” Charles Wheatstone (1802-1875)
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“Lenticular stereoscope”
David Brewster
(1781-1868)
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Bela Julesz (1928-2003)
“Random dot stereograms”
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Ludwig Wilding has found a novel method of manipulating relative
spatial frequencies to yield stereoscopic depth and apparent motion.
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Patrick Hughes is shown standing between the protrusions of one of
his works, which are reverse perspectives.
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http://www.perceptionweb.com/perc0999/wade.pdf
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“Mondrians”
http://www.perceptionweb.com/perc0999/wade.gif
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Scientific influences of art have derived mostly from the other
lost dimension of pictures – motion. Rather than implying
motion scientists synthesised it.
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Thomas Young’s (1800) diagrams of persisting images
reflecting from foil on vibrating piano strings.
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Peter Mark Roget (1779-1869) and his spoke pattern
“Thesaurus of Roget”
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John Ayrton Paris (1785-1856) and the thaumatrope
“Wonder turner”
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Charles Wheatstone’s (1827) kaleidophone,
named after Brewster’s kaleidoscope.
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Michael Faraday (1791-1867)
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“Plateau’s dancer”
Joseph Plateau
(1801-1883)
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Marcel Duchamp utilised visual persistence, and he also made
rotoreliefs that induce kinetic depth effects in the 1930s. They were
studied in visual science by Musatti (1929)
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http://www.opprints.co.uk/gallery.php
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“Tyndall figures”
John Tyndall
(1820-1893)
wrote a book on
Sound which
included an
illustration of
Chladni figures.
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Ludimar Hermann (1838-1914) and Ewald Hering (1834-1918)
“Hermann-Hering grids”
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“Towards plastic
unity”
Hermann and
Hering grids have
been manipulated
with great skill by
Victor Vasarely.
They have played
a major part in Op
Art – the genre
that closely binds
the art and science
of vision.
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Thomas Young described his own regular astigmatism in 1801, and
transient astigmatism has been amplified extensively in the art of
Bridget Riley and other Op artists.
“Astigmat” “Abstract Geometer”
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Purkinje described the distortions that are seen with regular geometrical
patterns, like circles and radiations. Bridget Riley uses these effects in
her op art. Patterns like these often produce subjective colours.
“Sehen in subjektiver Hinsicht” “The Responsive Eye”
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“Young
Helmholtz”
Hermann
Helmholtz
(1821-1894)
devoted one of
his Popular
Lectures to the
relation of
optics to
painting –
particularly
colour.
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“Nobel colours”
Ragnar Granit
(1900-1991)
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“Limulus”
Haldan Keffer
Hartline
(1903-1983)
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George Wald
(1906-1997)
“Visual
purple”
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References for Wade: “Scientific art or artistic science?”
Wade, N. (1982) The Art and Science of Visual Illusions. London: Routledge &Kegan Paul.Wade, N. (1990) Visual Allusions: Pictures of Perception. London: LawrenceErlbaum.Wade, N. J. (2004). Good figures. Perception, 33, 127-134.Wade, N. J. (2004). Philosophical instruments and toys: Optical devices extending theart of seeing. Journal of the History of the Neurosciences, 13, 102-124.Wade, N. J. (2004). Toying with science. Perception, 33, 1025-1032.Wade, N. J., and Nekes, W. (2005). The two faces of Rex Whistler (1905-1944).Perception, 34, 639-644.Wade, N. J. (2005) Perception and Illusion. Historical Perspectives. New York:Springer.Wade, N. J. (2006). Perceptual portraits. In F. Clifford Rose (Ed.) Neurobiology ofPainting. San Diego: Elsevier. pp. 17-38.Wade, N. (2007) Circles: Science, Sense and Symbol. Dundee: Dundee UniversityPress.Wade, N. J. (2007) Image, eye and retina. Journal of the Optical Society of AmericaA. 24, 1229-1249.Wade, N. J. (2007). Artful visions. Spatial Vision, in press.Wade, N. J. (2007). Synintryck, konst och illusioner. Sinnen, Signaler och Tolkningarav Verkligheten. Gothenberg : KVVS. In press.