1. functional skeletons
2. how pictures work
3. deep style
4. uncomfortable objects
5. Kandinsky color
Fig 3. 146 clicks
Fig 4. 164 clicks
Fig 5. 77 clicks
Fig 6. 81 clicks
INTELLIGENT INFERENCES
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)
CROSS MODAL KANDINSKY
synesthetic mapping of colors to shapes
Point and Line to Plane
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).
What's Up in Top-Down Processing. Cavanagh (2001).
Shape from Shadows. Cavangh and Leclere (1989).
INTELLIGENT INFERENCES
Heider and Simmel (1944) animation
An experimental study of apparent behavior.
SKELETONS
from the Kampff Lab
The format of underlying representations.
UNCOMFORTABLE
Vis reductive art
Vision in Art and Neuroscience
courses
> MIT
books
> Kandel Reductionism in Art and Brain Science
"You cannot count the number of bats in an inkblot because there are none. And yet a man—if he is "bat-minded"—may "see" several."
Gregory Bateson (1972)
"I say that because the common belief is often wrong; because vision is so dominant that sighted people think that they know what red is because they see it. But if you think about it, you know a lot about red besides how it looks. You know it's a property, not an object or an action, and you can’t touch it with your hand. Red is more similar to orange than blue, you know all of that. Blind people know all of that, too."
interview with Marina Bedny
> Blue
> Red