Optical Quotes - page 2
Velocity of transverse undulations in our hypothetical medium, calculated from the electromagnetic experiments of 'MM'. Kohlrausch and Weber, agrees so exactly with the velocity of light calculated from the optical experiments of M. Fizeau, that we can scarcely avoid the conclusion that light consists in the transverse undulations of the same medium which is the cause of electric and magnetic phenomena.
James Clerk Maxwell
I painted 'the Shelton with Sunspots' [New York], in 1926. I went out one morning to look at it before I started to work and there was the optical illusion of a bite out of one side of the tower made by the sun, with sunspots against the building and against the sky. I made that painting beginning at the upper left and went off at the lower right without going back.
Georgia O'Keeffe
A theory of haptics is expounded which the author feels will establish "a foundation for the Haptics of form and the psychology of the blind." He differentiates between "Haptics of an essentially optical character" and "pure or autonomous Haptics" such as is experienced by those blind from early childhood. The weaknesses of certain psychological theories such as Gestalt, are discussed in terms of Révész's haptic theory. Part II of the book analyzes the aesthetics of haptic form and the art of the blind. The work of blind sculptors is presented and is analyzed.
Géza Révész
It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano... Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side... Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.
Kenneth Noland
What most men do not know - and if they could know it, why could they be called on to believe it? - Is that this blue sky, though illusory as an optical error and belied by the vision of interplanetary space, is nonetheless an adequate reflection of the Heaven of the Angels and the Blessed and that therefore, despite everything, it is this blue mirage, flecked with silver clouds, that is right and will have the final say; to be astonished at this amounts to admitting that it is by chance that we are here on earth and see the sky as we do.
Frithjof Schuon
We have never heard Seurat, Cross, Luce, Van de Velde or indeed Van Rysselberghe or Angrand speak of dots. We have never seen them be preoccupied by Pointillism. Read these lines, dictated by Seurat to Jules Christophe, his biographer: 'Art is harmony; harmony is the analogy between opposites and between similar elements of tone, tint and line. By tone I mean light and dark; tint is red and its complementary: green, orange and its complementary: blue, yellow and its complementary: purple.. .The method of expression relies on the optical mixture of tones, tints and their reactions (shadows that follow very strict rules).
Paul Signac
The biggest breakthrough in the next 50 years will be the discovery of extraterrestrial life. We have been searching for it for 50 years and found nothing. That proves life is rarer than we hoped, but does not prove that the universe is lifeless. We are only now developing the tools to make our searches efficient and far-reaching, as optical and radio detection and data processing move forward.
Freeman Dyson
Had optical perception not evolved into something more than sensory perception, into super-sensory perception, then the present period would never have had the courage to discover the spiritual in matter. There would have been no fundamental difference between a painting by Picasso [from Picasso's so-called 'abstract' period] and one by Paulus Potter.
Theo van Doesburg
The naked body is an altogether suitable object. In art classes I have gradually learned something of it from every angle. But now I will no more project some plan of it: I will proceed so that all its essentials, even those hidden by optical perspective, will appear upon the paper. And thus a little uncontested personal property has already been discovered, a style has been created.
Paul Klee
