"Make the sky as your horizon to become a vast day! Systems, only those who fail to penetrate the truth in full and who want to grab it from the tail; the system is like a queue of truth, but the truth It's like a sopirla: Leave your tail in your hand and runs, knowing well that, very quickly, it will grow another new. In the arts, as in science, the systems have done so that the sopirla queue becomes caduca. The vision is tempting to compare the eye with the photographic appliance, or, as it was made from the renaissance, with the "optical camera". This comparison gave rise to a system: the perspective, whose dangers are known; among others, forgetting the fact that the images formed On a flat surface and on the retina curve are different. According to Alberti's theories and the happy intervention of Leonardo, the voted violations, called "false perspectives," represented the empirical correction that the sensitivity of the great artists knew to bring to such confuse Zii. By better knowledge of the facts, due to optical advances, "tricks" have become laws.
Much closer to us, without omiting Munsll's errors, to think about this "distinction between those who paint the object and those who paint the light." Paul Signac writes: "Nature paints only with the colors of the solar spectrum, degraded in infinity, and does not allow any square millimeter of payment." He thinks he copied it through divisionism. But the sopber tail will break by confusing the additive effect thus , with the substrateful effect, characteristic of all material mixtures. The truth will disappear, lacking the depth of the color that the distance can not get in this way. Rotating Maxwell's discs should have made us think of it. All systems give rise to passing too much.
Thus, familiar with the handling of a photographic appliance, adjusting and with the role of adjustable aperture, we understand, by analogy, as the view is adapted: the crystalline and pupil suffers modifications whose automatic admires it. However, comparison should not be further taken. The photo catches the image as a whole and fix it permanently to. Because of this, it will be preferable to compare the principle of television. This, like the eye, acts through an ephemeral effect, and, above all, (what does not make the cinema), explores the subject by passing it without ceasing from one point to another. However, this "scan" performed by the thin radius moving throughout the receiver screen, does not resemble the minimal spontaneous movements of the eye, the cause of contrast phenomena. We, therefore, use these comparisons with the condition to respect their limits and as a means of partially starting from known to the unknown; None can offer a complete idea of vision.
To know what is essential here, we need to consult specialists. But it is numerous and delicate research that is still far from being concluded, yet quite advanced to prove that we perceive the colors by means of identification similar to those used as we have seen - for their classification. The results acquired today are, more precious with CIL, they give scientific value, so the power, well-known rules of painters. Gonsting them so far empirical, some believed they could give up, assimilating to perimate traditions, the aesthetic inheritance of some schools that were considered entitled to renegade. What requires visual perception, a certain time of exposure, which, according to certain conditions, varies from "instantaneous" at the duration of Caro makes the use of the tripod. Those who want to know better about the current state of our knowledge, can be documented at a modest price reading the "Que Sais-Je" collection: Ernsl Baumgard. It is known that the starting point of these research is at the beginning of the century of хіx, and are due to the famous physician hypothesis, physicist and even archaeologist Thomas Young: There would be three types of nerve fibers impregnated by different photosensitive products.
For this reason, each fibril would have a special sensitivity for one of the three areas of the spectrum. As it has happened with many big ideas and above it, silence and oblivion. The same will be repeated a few years later, when Meriee will talk about the medium. To guide the researchers and keep their followers up to nowadays, Young's work will have to wait for the German physicist Lelmhollz (1821 1894) to whom they owed the curves' below. They show that the fibrils react to orange, green and purple-blue.
* Note: Havel, Marc -The painting technique, Meridian Publishing House, 1980