The subject detects the presence and interrelationships of the basic components of one of the two-dimensional drawings - particularly, the variously oriented straight lines, the several types of vertices by which they are connected and, presumably, something of the structural relationships among these components within the two-dimensional pattern. Then, on the basis of some higher-level processing of these extracted features and their interrelationships, an internal representation, code, or verbal description is generated for each picture separately that captures the intrinsic structure of the three-dimensional object in a form that is independent of the particular orientation in which that object happens to be displayed.
Roger ShepardRelated topics
basic basis code description form independent intrinsic object orientation particular pattern picture presence representation several something straight structural structure subject verbal vertex processing linesRelated quotes
Babbitt looked up irritably from the comic strips in the Evening Advocate. They composed his favorite literature and art, these illustrated chronicles in which Mr. Mutt hit Mr. Jeff with a rotten egg, and Mother corrected Father's vulgarisms by means of a rolling-pin. With the solemn face of a devotee, breathing heavily through his open mouth, he plodded nightly through every picture, and during the rite he detested interruptions. Furthermore, he felt that on the subject of Shakespeare he wasn't really an authority. Neither the Advocate-Times, the Evening Advocate, nor the Bulletin of the Zenith Chamber of Commerce had ever had an editorial on the matter, and until one of them had spoken he found it hard to form an original opinion.
Sinclair Lewis
Ritchie and Thompson made an amazing team; and they played Unix and C like a fine instrument. They sometimes divided up work almost on a subroutine-by-subroutine basis with such rapport that it almost seemed like the work of a single person. In fact, as Dennis has recounted, they once got their signals crossed and both wrote the same subroutine. The two versions did not merely compute the same result, they did it with identical source code! Their output was prodigious. Once I counted how much production code they had written in the preceding year − 100,000 lines! Prodigious didn't mean slapdash. Ken and Dennis have unerring design sense. They write code that works, code that can be read, code that can evolve.
Doug McIlroy
When you wish to see whether the general effect of your picture corresponds with that of the object represented after nature, take a mirror and set it so that it reflects the actual thing, and then compare the reflection with your picture, and consider carefully whether the subject of the two images is in conformity with both, studying especially the mirror. The mirror ought to be taken as a guide... you see the picture made upon one plane showing things which appear in relief, and the mirror upon one plane does the same. The picture is on one single surface, and the mirror is the same. ...if you but know well how to compose your picture it will also seem a natural thing seen in a great mirror.
Leonardo da Vinci
I am primarily painting from photographs these days (from illustrated magazines but also from family photos), in a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product (the "second-hand world” in which we live), I do not have to intervene artistically with style, since the stylization (deformation in form and color) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else (object, subject), it leads to an unmotivated artificiality, an untouchable formalist taboo.
Gerhard Richter
The simultaneousness of states of mind in the work of art: that is the intoxicating aim of our art... In the pictorial description of the various states of mind of a leave-taking, perpendicular lines, undulating lines and as it were worn out, clinging here and there to silhouettes of empty bodies, may well express languidness and discouragement. Confused and trepidating lines, either straight or curved, mingled with the outlined hurried gestures of people calling to one another will express a sensation of chaotic excitement. On the other hand, horizontal lines, fleeting, rapid and jerky, brutally cutting in half lost profiles of faces or crumbling and rebounding fragments of landscape, will give the tumultuous feelings of the person going away.
Umberto Boccioni
