Information about Visual Language
A visual language is a set of practices by which images can be used to communicate concepts. Creation of an image to communicate an idea presupposes the use of a visual language. Just as people can 'verbalize' their thinking, they can 'visualize' it. The elements in an image represent concepts in a spatial context, rather than the linear form used for words. Speech and visual communication are parallel and usually interdependent means by which humans exchange information. A diagram, a map, and a painting are all examples of the use of the visual language. Its structural units include line, shape, color, motion, texture, pattern, direction, orientation, scale, angle, space and proportion.
The brain is divided into two hemispheres and a thick bundle of nerve fibres enable these two halves to communicate with each other. In most people the ability to organise and produce speech is predominantly located in the left side. Appreciating spatial perceptions depends more on the right hemisphere, although there is a left hemisphere contribution[3]. In an attempt to understand how designers solve problems, L. Bruce Archer proposed
Vision gives us inexhaustibly rich information about the objects and events of the outside world. The language we use to record these phenomena is, because of the simplicity of line, shape and colour, infinitely adaptable to the needs of communication.
12. Space in Colour, Arts Digest, New York, Patrick Heron, 1955
A language is a system of symbols and the rules used to manipulate them. Language can also refer to the use of such systems as a general phenomenon.
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Perception
The sense of sight operates selectively. Perception is not a passive recording of all that is in front of the eyes, but is a continuous judgement of scale and colour relationships,[1] and includes making categories of forms to classify images and shapes in the world.[2]Thinking in images and words
- See also:
The brain is divided into two hemispheres and a thick bundle of nerve fibres enable these two halves to communicate with each other. In most people the ability to organise and produce speech is predominantly located in the left side. Appreciating spatial perceptions depends more on the right hemisphere, although there is a left hemisphere contribution[3]. In an attempt to understand how designers solve problems, L. Bruce Archer proposed
- "that the way designers (and everybody else, for that matter) form images in their mind's eye, manipulating and evaluating ideas before, during and after externalising them, constitutes a cognitive system comparable with but different from, the verbal language system. Indeed we believe that human beings have an innate capacity for cognitive modelling, and its expression through sketching, drawing, construction, acting out and so on, that is fundamental to human thought."[4]
Imaging in the mind
What we have in our minds in a waking state and what we imagine in dreams is very much of the same nature.[5] Dream images might be with or without spoken words, other sounds or colours. But in the waking state there is usually, in the foreground, the buzz of immediate perception, feeling, mood and fleeting memory.[6] In a mental state between dreaming and being fully awake is a state known as 'day dreaming' or a meditative state, during which "the things we see in the sky when the clouds are drifting, the centaurs and stags, antelopes and wolves" are projected from the imagination.[7]Gestalt psychology
The perception of a shape requires the grasping of the essential structural features, to produce a "whole" or gestalt. The theory of the gestalt was proposed by Christian von Ehrenfels in 1890. He pointed out that a melody is still recognisable when played in different keys and argued that the whole is not simply the sum of its parts but a total structure. Max Wertheimer researched von Ehrenfels' idea, and in his "Theory of Form" (1923) – nicknamed "the dot essay" because it was illustrated with abstract patterns of dots and lines – he concluded that the perceiving eye tends to bring together elements that look alike (similarity groupings) and will complete an incomplete form (object hypothesis). An array of random dots tends to form configurations (constellations).[8] All these demonstrate how the eye and the mind are looking for pattern and simple whole shapes. When we look at more complex visual images such as paintings we can see that art has been a continuous attempt to "notate" visual information. Richard Gregory suggests that, "Perhaps the ability to respond to absent imaginary situations," as our early ancestors did with paintings on rock, "represents an essential step towards the development of abstract thought."[9]Meaning and expression
Abstract art has shown that the qualities of line and shape, proportion and colour convey meaning directly without the use of words. Wassily Kandinsky in Point and Line to Plane showed how drawn lines and marks can be expressive without any association with a representational image.[10] Throughout history and especially in ancient cultures visual language has been used to encode meaning:- The Bronze Age Badger Stone on Ilkly Moor is covered in circles, lines, hollow cups, winged figures, a spread hand, an ancient swastika, an embryo, a shooting star? … It's a story-telling rock, a message from a world before (written) words.[11]
Vision gives us inexhaustibly rich information about the objects and events of the outside world. The language we use to record these phenomena is, because of the simplicity of line, shape and colour, infinitely adaptable to the needs of communication.
References
1. ^ Itten, Johannes [1970] (1983). The Elements of Color: A Treatise on the Color System of Johannes Itten Based on his Book "The Art of Color", trans. Ernst van Hagen, Wokingham: Van Nostrand Reinhold. ISBN 0-442-30581-8.
2. ^ Arnheim, Rudolf (1970). Visual Thinking. London: Faber. ISBN 0-571-09365-5.
3. ^ Davidmann, Manfred (1998-04-20). How the Human Brain Developed and How the Human Mind Works. Towards a Better Future: The Works of Manfred Davidmann.
4. ^ Archer, L. Bruce (1979). "Whatever Became of Design Methodology?". Design Studies 1 (1): pp. 17-18.
5. ^ Hiller, Susan (ed.) (2000). Dream Machines. London: Hayward Gallery. ISBN 1-85332-202-4.
6. ^ Edelman, Gerald; and Giulio Tononi (2000). Consciousness: How Matter Becomes Imagination. London: Allen Lane. ISBN 0-7139-9308-1.
7. ^ Gombrich, E. H. (1960). Art and Illusion: A Study in the Psychology of Pictorial Representation. London: Phaidon Press.
8. ^ Behrens, Roy R. (1998). "Art, Design and Gestalt Theory". Leonardo 31 (4): pp. 299-303.
9. ^ Gregory, R. L. (1970). The Intelligent Eye. London: Weidenfeld & Nicolson. ISBN 0-297-00021-7.
10. ^ Kandinsky, Wassily (1947). Point and Line to Plane: Contribution to the Analysis of the Pictorial Elements, trans. Howard Dearstyne and Hilla Rebay, New York: Solomon R. Guggenheim Foundation.
11. ^ Hyatt, Derek (Autumn 1995). "To Strengthen the Tribe". Modern Painters 8 (3): p. 83.
2. ^ Arnheim, Rudolf (1970). Visual Thinking. London: Faber. ISBN 0-571-09365-5.
3. ^ Davidmann, Manfred (1998-04-20). How the Human Brain Developed and How the Human Mind Works. Towards a Better Future: The Works of Manfred Davidmann.
4. ^ Archer, L. Bruce (1979). "Whatever Became of Design Methodology?". Design Studies 1 (1): pp. 17-18.
5. ^ Hiller, Susan (ed.) (2000). Dream Machines. London: Hayward Gallery. ISBN 1-85332-202-4.
6. ^ Edelman, Gerald; and Giulio Tononi (2000). Consciousness: How Matter Becomes Imagination. London: Allen Lane. ISBN 0-7139-9308-1.
7. ^ Gombrich, E. H. (1960). Art and Illusion: A Study in the Psychology of Pictorial Representation. London: Phaidon Press.
8. ^ Behrens, Roy R. (1998). "Art, Design and Gestalt Theory". Leonardo 31 (4): pp. 299-303.
9. ^ Gregory, R. L. (1970). The Intelligent Eye. London: Weidenfeld & Nicolson. ISBN 0-297-00021-7.
10. ^ Kandinsky, Wassily (1947). Point and Line to Plane: Contribution to the Analysis of the Pictorial Elements, trans. Howard Dearstyne and Hilla Rebay, New York: Solomon R. Guggenheim Foundation.
11. ^ Hyatt, Derek (Autumn 1995). "To Strengthen the Tribe". Modern Painters 8 (3): p. 83.
Further reading
- New Epoch Notation Painting
- Visual Education, York Conference, Schools Council, 1972
External links
- CAPL: The Culturally Authentic Pictorial Lexicon Visual language as a function of culture.
- Sean Caulfield http://www.innovation.ca/innovation2/pdf/caulfield.pdfPDF (33.8 KiB)
- Roy R. Behrens, "How Form Functions"
- Roy R. Behrens, "Art, Design and Gestalt Theory"
- Roy R. Behrens "On Max Wertheimer and Pablo Picasso: Gestalt Theory, Cubism and Camouflage"
- Manfred Davidmann http://www.solbaram.org/articles/humind.html
- IngoLingo Language Learning System A system that uses your visual memory to teach you foreign words and sentences
See Language (journal) for the linguistics journal.
A language is a system of symbols and the rules used to manipulate them. Language can also refer to the use of such systems as a general phenomenon.
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perception is the process of acquiring, interpreting, selecting, and organizing sensory information. It is a task far more complex than was imagined in the 1950s and 1960s, when it was proclaimed that building perceiving machines would take about a decade, but, needless to say,
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Leonard Bruce Archer (22 November 1922 - 16 May 2005), British mechanical engineer and later Professor of Design Research at the Royal College of Art who championed research in design, and established design as an academic discipline.
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Gestalt psychology (also Gestalt theory of the Berlin School) is a theory of mind and brain that proposes that the operational principle of the brain is holistic, parallel, and analog, with self-organizing tendencies; or, that the whole is greater than the sum of its parts.
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Christian Freiherr von Ehrenfels (June 2 1859 in Rodaun near Vienna - September 8 1932 in Lichtenau), was an Austrian philosopher, and is known as one of the founders and precursors of Gestalt psychology.
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Max Wertheimer (April 15, 1880 – October 12, 1943) was a Czech-born Jewish psychologist who was one of the three founders of Gestalt psychology, along with Kurt Koffka and Wolfgang Köhler.
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Richard Langton Gregory, CBE, MA, D.Sc., FRSE, FRS (born July 241923) is a British psychologist and Emeritus Professor of Neuropsychology at the University of Bristol.
In 1967, with Prof. Donald Michie and Prof.
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In 1967, with Prof. Donald Michie and Prof.
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Abstract art is now generally understood to mean art that does not depict objects in the natural world, but instead uses color and form in a non-representational way.
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Wassily Kandinsky
Birth name Wassily Kandinsky
December 16, 1866
Moscow
December 13, 1944
Neuilly-sur-Seine
Russian
Painting
Academy of Fine Arts, Munich
Expressionism; abstract art
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Birth name Wassily Kandinsky
December 16, 1866
Moscow
December 13, 1944
Neuilly-sur-Seine
Russian
Painting
Academy of Fine Arts, Munich
Expressionism; abstract art
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Johannes Itten (November 11, 1888 - May 27, 1967) was a Swiss painter, designer teacher, writer and theorist associated with the Bauhaus school (Staatliches Bauhaus).
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Life and Work
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Rudolf Arnheim (July 15, 1904 — June 9, 2007) was a German-born author, art and film theorist and perceptual psychologist. He himself said that his major books are Art and Visual Perception: A Psychology of the Creative Eye (1954), Visual Thinking
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Leonard Bruce Archer (22 November 1922 - 16 May 2005), British mechanical engineer and later Professor of Design Research at the Royal College of Art who championed research in design, and established design as an academic discipline.
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Gerald Maurice Edelman (born July 1, 1929) is an American biologist who won the Nobel Prize in Physiology or Medicine in 1972 for his work on the immune system.[1] Edelman's Nobel Prize-winning research concerned discovery of the structure of antibody molecules.
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Sir Ernst Hans Josef Gombrich, OM, CBE (30 March 1909 – 3 November 2001) was an Austrian-born art historian, who spent most of his working life in the United Kingdom.
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Richard Langton Gregory, CBE, MA, D.Sc., FRSE, FRS (born July 241923) is a British psychologist and Emeritus Professor of Neuropsychology at the University of Bristol.
In 1967, with Prof. Donald Michie and Prof.
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In 1967, with Prof. Donald Michie and Prof.
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Wassily Kandinsky
Birth name Wassily Kandinsky
December 16, 1866
Moscow
December 13, 1944
Neuilly-sur-Seine
Russian
Painting
Academy of Fine Arts, Munich
Expressionism; abstract art
..... Click the link for more information.
Birth name Wassily Kandinsky
December 16, 1866
Moscow
December 13, 1944
Neuilly-sur-Seine
Russian
Painting
Academy of Fine Arts, Munich
Expressionism; abstract art
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