Graphics Reference
In-Depth Information
Cognitive Perception
Addressed by Painters
supposed to direct and focus their eyes were painted
in a three dimensions, with greater detail and en-
hanced color. The rest of the painting addressed
peripheral vision and so it was flat.
Figure 9 reflects the cognitive transfer result-
ing from the fact of traveling. Changes sceneries
evoke new constructs in the driver's mind pre-
sented here as abstract, programmed quadrants.
Irregular, diagonal geometric shapes correspond
to the natural patterns in the fields.
Concepts related to photorealistic 3D rendering
and to interactive visualization are often derived
from an analysis of traditional media. Painters not
always used regular perspective or orthographic
projections, with lines at right angles to a plane
of a painting. According to John Counsel (2003),
many times the masters chose the kinds of per-
spective according to their cognitive perception.
Sometimes, it was an isometric method of draw-
ing, so that three dimensions were shown not in
perspective, but in their actual size. For example,
interiors painted by Vincent Van Gogh were not
fully based on the familiar Euclidian perspective.
Cezanne's paintings reflected the way the viewer
perceives reality. Areas where the viewers were
We are told average American moves 14 times in
ones life. This work leads the viewer from the cozy
rural community to the big city in the way that
may be felt by somebody who is just moving,
depicting the rhythm and the rhythmical sound of
a big city.
Figure 9. Anna Ursyn, “From the Village to the Big City” (© 1988, A. Ursyn. Used with permission)
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