Section III - Panofsky

"The picture has become a mere "slice" of reality, to the extent and in the sense that imagined space now reaches out in all directions beyond represented space, that precisely the finiteness of the picture makes perceptible the infinteness and continuity of the space." p 60-61.
-c.f. judith duquemin? australian.

"the subjective visual impression was indeed so far rationalized that this very impression could itself become the foundation for a solidly grounded and yet, in an entirely modern sense, "infinite" experiential world. ... The result was a tranlation of psychophysiological space into mathematical space; in other words, an objectification of the subjective." p 66.
-here lies the big picture of the implication of perspectile development through the investigation of art, namely painting, for Panofsky. The importance of its exactness/correctness/trueness comes second to its ability to transform finite into infinite, as well as, objective into subjective. Its symbolism therefore can be seen in its unification of perceptions between people. Different viewers (although subjective in nature) now have a platform to share space (objective).
-it would be interesting to produce something in the opposite movement. To create an "subjectification of the objective perspective". This combs against the sought after unified theory but opens way for a rethinking approach.
-maybe this would take the form of purely visual, such as geometry only being correctly perspective from a single viewpoint.

-to take this further we could imagine the same kind of exporation taken into architecture

Perspective after 1520?
-what became of the development after Albrecht Altdorfer's "Birth of the Virgin", Munich.
-development of 2pp?
-development of 3pp?


Section IV - Panofsky
"Perspective subjects the artistic phenomenon to stable and even mathematically exact rules, but on the other hand, makes that phenomenon contigent upon human beings, indeed upon the individual: for these rules refer to the psychological and physical conditions of the visual impression, and the way they take effect is determined by the freely chosen position of a subjective "point of view."" p 67.
-This "contingency" is important because it identifies the relationship between order and disorder (the unpredictable nature of human behaviour)
-it also seems a bit cyclical: the representation of space depends on the subjects location within space.
-does this transfer to time?: the representation of time may depend on the subjects location in time.

of space-time and the introduction of orientation/direction.
3x1 space (distance)
2x1 time (duration)
deviation?

what about positive/negative?
3x1 is already assuming we have +/-
2x1 is not.

therefore
2x1 can become:
1x1 if we add +/-

then arises the question...what are we measuring from? what is 0? Present? is this convenient? to have a reference point that is constantly moving in real-time?
where would the reference point be in our constructed virtual time?
at present we measure time from a western biblical event. year 0 (assuming year 1 is 1st anniversary, then 2009 is 2009th anniversary). the time at present is positive(+) 16:09 17th, August, 2009.
2009 years
734016 days =previous*365.25 +31(jan)+28+31+30+31+30+31+17(aug)
17616400 hrs =previous*24 +16hrs
1056984009 mins =Previous*60 +09mins
63419040540 secs =previous*60

real time
-constant
-subjectively curved (space)
-objectively straight (time)
-linear (time)

virtual time
-dynamic/changing
-objectively straight (space, linear perspectival construction)
-subjectively curved (time, non-linear, can be manipulated, jump from 1 moment to another in an instant)
-non-linear (time)

Need to check out:
-Carl Andre, conceptual artist
-Jeremy Till, architect and writer

further investigation into perspective:
-Perspective, Projections and Design - Mario Carpo and Fredreique Lemerle
-Architectural Representation and the Perspective Hinge - Alberto Perez Gomez