Posted by: Sk | February 17, 2009

4 Visual games

Not even Sask could solve the mistery of where the last Russian prince came from (www.double2up.wordpress.com / news and anecdotes), as it really but really seemed to be a real one. She was even obliged to make a careful phonecall in order to verify the point and although she got a somewhat cold negative answer about such a possibility, she would not dare filing a claim with the horribly sounding title of diffamation on behalf of the author of such an invention, as finally, she thought, it could be that the interested had strictly no interest in letting the point being known.

Thus, I’m obliged myself, in order to preserve the reputation of the concerned, which already heavily under attack by obscure powers of the night, to restore the truth as wicked as it might be in this case: the first prince exists, although we are not sure at all he is a prince, but he is Russian, and an actor (and plays often the prince or want to be prince). The second though is a really wicked superposition of Inés de la Fresange with … herself. (Slightly retouched, as unluckily, in spite of all her efforts, she will never but never look like a real man – because of the head’s bones, which are too round.) It’s enough though to sharpen a little bit the edges of the head bones in order to obtain a quite good result. For whoever interested in those matters, it is visible only around the eyes, which are obviously the same. The picture in question is a real one – I hope not too much securized – which seems to have been taken at a party.

In order to explain how such a thing is possible (to confuse half the world with a mirror effect) I had to go back to my children’s memories. One day, my mother arrived with a box full of articles supposedly linked to magic. Of not excessive interest, one awoke though my curiosity. Two equal figures cut like the ones below awoke the visual impression that the one to the right was slimmer than the one to the left when put one beside the other. Put one on the other, though, the were exactly the same. Although it is true that it shocked deeply my vision of the world as I was convinced until then that ‘what is has to be seen as it is’ I kept the information in the depth of my unconscious. Which proofed quite valuable. The same exercise than the one of the Russian Prince picture was repeated today with the picture above. The faces are exactly the same: who would say so though? (Function: tampon). Although the same, or even the same, the same shows differences to itself. To sharpen the effect, further observations made on colours: some do make a figure look broader or slimmer, much depending on its nature. Were it enough to seem … colours in computers do hold different spaces, as can be observed easily by superposing letters same font same size, with different colours: they’re never ones upon the others. What implications this may have on electronical functions and securities, I rather prefer leave to experts to solve.

dibujo-10

After many thought the following explanation came up concerning the visual effects referred the post before. In fact (I guess) one eye (usually the right one) is fixed at long distance, and the other (left) is fixed at short distance, creating thus the impression of volume to the brain.

If you have a plain surface, the right eye fixes points that are different than those fixed by the left, giving the impression that the right object is thinner. There we are. Because a painter has to reproduce on a plain surface the impression that is left by a space with volume, so that it can never be the same (lesson Karabulut) by an adaptation that allows to the eye to reproduce volume through other means. Actually technically distorted object give to the brain a more accurate impression than technically perfect object (photography) as the ground being different, the technically perfect object appears on plain surface distorted to the eye.

Even more difficult is internet. It is plain, also, but it plays with light, and light does affect the brain in different ways than colour in painting, for example. What is an acquisition for a painting can’t be an acquisition for a computer, and volumes and spaces, colours and relationships have to been thought over again.

Thus, the world gets back to its former order

 

 

 

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