Documente Academic
Documente Profesional
Documente Cultură
Algoritmul de Armonie
Algoritmul de Armonie
But first, let us see some of those sights. I arranged them in thematically related pairs. Let us try to treat those
images just as parts of the real world, not as artistic achievements, even though some of them would doubtless
fit in the latter category as well.
On the left (or above, if you are reading this on your phone), I placed sights typically perceived as much more
pleasing than those placed on the right (on phones: below).
În stânga (sau mai sus, dacă citiți acest lucru pe telefonul dvs.), am plasat obiectivele percepute în mod obișnuit
mult mai plăcute decât cele plasate în partea dreaptă (pe telefoane: de mai jos).
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
If we agree on most of the above pairs, let us consider what all of the images on the left have in common, and
thus what distinguishes them from those on the right.
Each one consists of a huge number of elements, groups of uncountable details interlaced in various parts of
those diverse sights. Some might be called highly contrasting, others are toned down. Let us forget about our
22
emotional attitudes towards the represented places or objects and focus on the compositional aspect alone. We
will then see that the elements and groups of elements which constitute the images on the left, are less internally
diverse than those which constitute the images on the right. Regardless whether the elements are more
contrasted by their colours, shapes, sizes or textures, on the left these internal contrast levels are more limited –
or in other words, more evenly distributed. Even the image of the Hindu crowd celebrating Holi, although at
first it might seem more internally diverse than the image of the crowd to the right, on closer inspection turns
out to be composed of forms which are much more similar to one another. The crowd on the right picture
consists of uncountable structures of varying kinds, the colour and light contrasts are thicker in some parts and
thinner in others. Cut through by diagonal elements, it is divided in two with the top side dominated by a square
screen. These contrasts do not increase the expressive power of the neighbouring parts of the image, instead
weakening it through their randomness, leading to chaos. Chaos, or irregularly distributed contrasts between
elements. A similar effect can be observed on the images of the nightclub. The old English jack-plane looks
pleasing not only because it looks like a wizard’s tool, but also because the dozen or so metal cranks and holds
all differ from each other in such a way that none of them draws our attention away from the others by
excessively standing out. Yet this is what happens with the jack-plane on the other image. The rice fields are
perhaps best at illustrating this phenomenon.
An interesting question arises: if all of the rice terraces became even more similar to each other, would this sight
be even more pleasing to us? I could not find such an image, but this could lead in the following direction:
So where is the boundary at which the level of internal diversity of elements turns a monotonous image into
diversity which is so pleasing to the eye, and what can happen further?
24
Please look at those 14 images and check:
Deci, unde este limita la care nivelul diversității interne a elementelor transformă o imagine
monotonă în diversitate care este atât de plăcută pentru ochi și ce se poate întâmpla în
continuare?
Uitați-vă la cele 14 imagini și verificați:
In our research we found that most people move away from the monotony of the repeating elements to reach
image 14, and then return to 11 taking it to be the most pleasing. I assume that your preferred image was also
somewhere around 11. Visibly repetitive elements end on image 8. From 9 on things become more interesting.
11 offers a perfect equilibrium between maximum differences, or harmony. The left side of 12 loses the
contrasts which draw the eye. In 13 the dynamic diversity in the right side of the image is so disruptive that one
might have the urge to move the frame to the right to lose the left side which in comparison is boring and flat.
The red form in 14 blinds us, so different that it draws all the attention and makes the remaining contrasts
almost invisible. This shows how the line might be crossed in the other direction, towards increasing irregularity
in the distribution of diversity. It does not seem hard to sense the boundaries between harmony and, on the one
side, regularly distributed elements which are overly similar to one another, and on the other, irregularly
distributed elements which are overly different from one another. In the middle, within those boundaries is
where internal diversity is getting close to being perfectly balanced – and this is perceived by many as beauty.
But naturally, this does not mean that one cannot enjoy some images which fall outside of those boundaries.
Iwo Zaniewski
25
În cercetarea noastră am descoperit că majoritatea oamenilor se îndepărtează de monotonia
elementelor repetate pentru a ajunge la imaginea 14 și apoi se întoarce la 11, luând-o ca fiind
cea mai plăcută. Presupun că imaginea preferată a fost de asemenea undeva în jurul valorii de
11. Elementele vizibile repetitive se termină pe imaginea 8. Din 9, lucrurile devin mai
interesante. 11 oferă un echilibru perfect între diferențele maxime sau armonie. Partea stângă a
lui 12 pierde contrastul care atrage ochiul. În 13, diversitatea dinamică din partea dreaptă a
imaginii este atât de perturbatoare încât s-ar putea să ai nevoia de a muta cadrul spre dreapta
pentru a pierde partea stângă care, în comparație, este plictisitoare și plată. Forma roșie din 14
ne orbeste, atât de diferită încât atrage toată atenția și face contrastele rămase aproape invizibile.
Aceasta arată modul în care linia ar putea fi traversată în cealaltă direcție, spre creșterea
neregulii în distribuirea diversității. Nu pare greu să se simtă limitele dintre armonie și, pe de o
parte, elementele distribuite în mod regulat, care sunt prea asemănătoare unul cu celălalt și, pe
de altă parte, elementele distribuite neregulat care sunt foarte diferite una de cealaltă. În mijloc,
în interiorul acestor limite se află locul în care diversitatea internă se apropie de a fi perfect
echilibrată - și aceasta este percepută de mulți ca o frumusețe. Dar, desigur, acest lucru nu
înseamnă că nu se pot bucura de anumite imagini care se află în afara acestor granițe.
Iwo Zaniewski
26