The Final will be the only exam of the course.
The final tests both the book and lectures notes
The book will read by homework assignments. Homework assignments will be reading the book. IMPORTANT, never use ratemyprofessors.com for this class, because it damages the marking cm
The course = The book
1. How to read the composition of a painting
2. How the composition relates to the emotional expression. The Composition pulls the emotions out of the viewer.
-The composition is an organization created by shapes
The shape structure produces a tension
The tension gives the emotion stored in the artwork
We will go deeply into how the artist achieves this.
-How does a shape store the emotional tension?
-Consider for example Picasso
-The shapes give us dynamic information. i.e. information about movement.
The word emotion means E = outward, Motion = Movement
So the shapes in the painting give us information about the: E-Motions = outward movements of the artist.
So the shapes have acted as a STORE for those movements.
Based on the shapes in the painting and the shapes give tension in the paint. While the tension makes the emotion in the painting.
So, to understand how an art-work functions, we have to understand how the viewer can RECOVER, from the shapes, the E-MOTIONS of the artist The shapes are acting liking a memory store of an artist E-MOTIONS
Leyton/s books have developed new foundations for geometry in which the fundamental claim is: Shape = Memory Storage
1/30/13 Section 1.3 The world as History
We will define:
• Memory = Information about the past.
• Consequently, define:
• Memory Stored = Any object that yields information about the past Claim: The entire world around us is memory storage.
i.e. Each object around us is memory of the history of process that form it. -We shall now see how to extract this history from the objects. This will show us how to extract the emotional tension stored in an art-work.
1.4 The Reconstruction of History: Fundamental Laws
History can be recovered from many different types of sources. In fact there are probably infinitely many types of sources. However, Leyton sowed that , on a deep level, all these sources have only one form:
FIRST FUNDAMENTAL LOW OF MEMORY STORAGE (Leyton 1992)
Memory is stored only in asymmetries.
SECOND FUNDAMENTAL LAW OF MEMORY STORAGE (Leyton 1992)
Memory is erased by symmetries
Simple Example of both laws: Consider the sheet of paper shown on the left in figure 1.2 page 7 in the book. Even if you have never seen that sheet before you would conclude that it had undergone twisting. The reason is that the asymmetry in the sheet yields information about the past. That is From the asymmetry, you can recover the process-history. -Now un-twist the paper, thus obtaining the sheet shown on the right in figure 1.2 -Show this sheet to any person in the street would they be able to infer that the sheet had once been twisted? -No!
-The reason is that the symmetry of the straight sheet has wiped out the ability to recover the preceding history. This means that symmetry is the absence of information about the past. -in fact, standardly, one assumes, from a symmetry, that it had always been like this. -For example wheb you take a hseet of paper from a box of paper you have just bought you do not assume that it had once been twisted or crumbled
its very straightness (symmetry) leads you to conclude that it had always been like this.
The two diagrams in figure 1.2 illustrate the two fundamental loaws of memory storage, iven laws
He formulates the two laws in
The way to use the two laws
Partition the section into its asymmetries and symmetresi
Apply the summery principle to asymmetry