STEFAN ARTENI

Perspective as Form and Medium

and
the Interplay of Proportion Systems
and Perspective

SolInvictus Press 2006

The Mark
We think of the "operator" as "doing something" and of the "operands" as things
to which something is "done." But the heretofore distinct mathematical concepts
of operator and operand are in fact merely different facets of a single fundamental
action, the drawing of a distinction.

Expressed in the terminology of set theory, a set is of a logically higher type than
are its elements; similarly this holds for the relationship between an operator and an
operand.
The formal description of…a process, in which the system should both reflect the
complete situation and alter its own algorithm, a system which learns how it learns,
requires an interchange of operator and operand, i.e. what from one viewpoint was
an operator becomes an operand during the process of reflection and vice versa.

DEAD AND LIVING SYSTEMS

Their Relation to Formal Logical Descriptions,
E. von Goldammer , J. Paul and C. Kennedy,
Institut für Kybernetik & Systemtheorie - ICS
Harpener Hellweg 532, D-44388 Dortmund
Fakultät für Informatik, TU Dresden

The mark is both operator and operand at the same time, a self-referential operator
which works upon itself and becomes part of itself, an operator (the mark)
which becomes an operand (the mark).
…it does make sense to define the two types of recognition because both
psychological and biological studies reveal the initial step of human vision to be
a position-independent parallel process that recognizes elementary features
such as color, texture, orientation, and size... This fast process precedes a
slower position-dependent object-recognition process which requires the
elementary features making up a perceptual object to be combined. The fast
parallel process is called preattentive, because it does not require spatial
attentional selection (i.e., it is spatially independent), the slow process is
referred to as attentive because it does require spatial attentional selection…

One relatively novel way of assessing the texture of an image is by measuring

the fractal dimension of an image. The use of concepts from chaos theory is
now widespread in image processing... In preattentive image recognition, the
concept of fractal dimension can be applied in, for instance, segmentation tasks
... Fractal dimension is a measure of the self-similarity of (a part of) an image
across a range of scales...

Discovering the visual signature of painters1

H.Jaap van den Herik and Eric O. Postma
IKAT / Computer Science Department
Universiteit Maastricht, The Netherlands
Mario Sironi
Mario
Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Mario Sironi
Giorgio Morandi
Giorgio
Morandi
Giorgio Morandi
Giorgio
Morandi
Giorgio Morandi
Giorgio
Morandi
Jean-Baptiste-Camille
Corot
Jean-Baptiste-Camille
Corot
Piero Marussig
Raoul Dufy
Roman mosaic
Roman wall paintings
Paolo Caliari Veronese
Paolo Caliari Veronese
André Derain
André Derain
André Derain
André Derain
Jacopo Bassano (Giacomo dal Ponte)
Jacopo Bassano (Giacomo dal Ponte)
Raoul Dufy
Raoul Dufy
Jacques Villon
Nicolas de Staël
Amedeo Modigliani
Amedeo Modigliani
Lorenzo Monaco
Lorenzo Monaco
Byzantine Icon
Spanish
Romanesque
wall painting
Spanish Romanesque wall painting
Sucevita, Byzantine wall painting
Probota, Byzantine wall painting
Cetatuia Monastery, Moldavian Byzantine wall painting:
Duca, prince of Moldavia and hetman of Ukraine
Göreme Museum, Basil Chapel,
Cappadocia
(Photo Dick Osseman)
Göreme Museum,
Yilanli or Snake Church,
Cappadocia
(Photo Dick Osseman)
Pskov, wall painting
Romanesque
wall painting
Göreme Museum, Karanlik Church,
Cappadocia
(Photo Dick Osseman)
Theodor Pallady
 SELF-REFERENCE OF FORM

Forms convince by implicit self-reference. They propose

themselves. They…resist further decomposition…In this
sense they have a ritualistic quality…
Ambiguity of forms comes about, if the problem of form is
reconstructed as a problem of the relation between form
and context…However ambivalent, the paradox of form is
the paradox of organizing context by self-reference.
Niklas Luhmann
Anonymous Romanesque
master
Anonymous
Romanesque
master
Romanesque wall painting
Altarpiece of San Cristobal
Arnau Bassa
Psalter of
Saint Louis
Anonymous
Gothic master
Lorenzo
Veneziano
Giovanni di Francesco
Workshop of Marco del Buono Giamberti, Appolonio di Giovanni
Master of Panels of the Argonauts
Filippo Lippi
Filippino Lippi
Jaime Huguet
Luca d'Egidio
di Ventura
(Luca
Signorelli)
Jacopo Negretti (Palma il Vecchio)
Tiziano Vecellio
Tiziano Vecellio
Tiziano Vecellio
Tintoretto (Jacopo Robusti)
Tintoretto
(Jacopo Robusti)
Tintoretto
(Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Tintoretto
(Jacopo Robusti)
Tintoretto (Jacopo Robusti)
Paolo Caliari Veronese
Paolo Caliari Veronese
Anonymous Venetian master
Rosso Fiorentino
(Giovanni Battista di Jacopo
di Rossi)
Rosso
Fiorentino
(Giovanni Battista di
Jacopo di Rossi)
El Greco
(Domenikos
Theotokopoulos)
El Greco
(Domenikos
Theotokopoulos)
Annibale Carracci
Nicolas Poussin
Peter Paul Rubens
Peter Paul Rubens
Peter Paul Rubens
André Derain
Edgar Degas
Edgar Degas
Georges Rouault
Georges Rouault
Paul Klee