chaz - Karen Tian

1. functional skeletons
2. deep style
3. how pictures work
4. uncomfortable objects
5. Kandinsky color

FUNCTIONAL SKELETONS

Fig 1. 229 clicks

Fig 1. 229 clicks

Fig 2. 241 clicks

Fig 2. 241 clicks

Fig 3. 146 clicks

Fig 4. 164 clicks

Fig 5. 77 clicks

Fig 6. 81 clicks

DEEP STYLE

INTELLIGENT INFERENCES

UNCOMFORTABLE

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

CROSS MODAL KANDINSKY

Kandinsky and the broader Bauhaus mapped colors to shapes (so simple geometries may bear canonical colors).
Point and Line to Plane

BANANAS

In visual perception a color is almost never seen as it really is—as it physically is. This fact makes color the most relative medium in art. In order to use color effectively it is necessary to recognize that color deceives continually. To this end, the beginning is not a study of color systems.

Josef Albers, Interaction of Color (1963)

IGNORANT SHADOWS

What is the contribution of shadow to the representation of form? When does visual brain use or discard shadow information?

The Visual World of Shadows. Casati and Cavanagh (2019).

BIOMETRIC SKELETONS

from the Kampff Lab

1. functional skeletons
2. deep style
3. how pictures work
4. uncomfortable objects
5. Kandinsky color

FUNCTIONAL SKELETONS

Fig 1. 229 clicks

Fig 1. 229 clicks

Fig 2. 241 clicks

Fig 2. 241 clicks

Fig 3. 146 clicks

Fig 4. 164 clicks

Fig 5. 77 clicks

Fig 6. 81 clicks

INTELLIGENT INFERENCES

DEEP STYLE

UNCOMFORTABLE

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

Jacques Carelman
Catalogue d'Objets Introuvables (1969)

CROSS MODAL KANDINSKY

Kandinsky and the broader Bauhaus mapped colors to shapes (so simple geometries may bear canonical colors).
Point and Line to Plane

BANANAS

In visual perception a color is almost never seen as it really is—as it physically is. This fact makes color the most relative medium in art. In order to use color effectively it is necessary to recognize that color deceives continually. To this end, the beginning is not a study of color systems.

Josef Albers, Interaction of Color (1963)

IGNORANT SHADOWS

What is the contribution of shadow to the representation of form? When does visual brain use or discard shadow information?

The Visual World of Shadows. Casati and Cavanagh (2019).

BIOMETRIC SKELETONS

from the Kampff Lab