Though theorized to be produced by the brain, the topology of VS is not topologically equivalent (homeomorphic) with the structure and activity of the brain because, as will be shown, the topology of VS cannot be formed from the topology of the brain without tearing and/or cutting and pasting.Ī lot of design has happened since Josef Albers produced his massive work Interaction of Color in 1963 (Albers, 1963). Applying the method of coordinative definition expounded by Hans Reichenbach for determining geometrical and topological properties of physical space (PS), it can be shown that VS fulfills the topological criteria of being a “real” space sui generis. Instead such properties have been presupposed a priori rather than being established a posteriori by empirical means, perhaps because these properties are self-evident. By contrast the geometrical analysis of VS has taken little cognizance of its topology. Specifically the topological properties of dimensionality, orientability, continuity, and connectivity define “real” space as studied by physics and are the spatial properties that characterize the physical universe as being an integral whole. For that reason distance is a property not preserved in topological space whereas the property of spatial order is preserved. The empirical study of visual space (VS) has centered on determining its geometry, whether it is a perspective projection, flat or curved, Euclidean or non-Euclidean, whereas the topology of space consists of those properties that remain invariant under stretching but not tearing. Edited by Vanja Malloy, with contributions from Brenda Danilowitz, Sarah Lowengard, Karen Koehler, Jeffrey Saletnik, and Susan R. The work also shows how much of Albers’s approach to color-dismissed in its day by a scientific approach to the study and taxonomy of color driven chiefly by industrial and commercial interests-ultimately anticipated what neuroscience now reveals about how we perceive this most fundamental element of our visual experience. It shows the formative influence on his work of non-scientific approaches to color (notably the work of Johann Wolfgang von Goethe) and the emergence of Gestalt psychology in the first decades of the twentieth century. With contributions from the disciplines of art history, the intellectual and cultural significance of Gestalt psychology, and neuroscience, this peer-reviewed publication offers a timely reappraisal of the immense impact of Albers’s thinking, writing, teaching, and art on generations of students. in 1933, his ideas about how the mind understands color influenced generations of students, inspired countless artists, and anticipated the findings of neuroscience in the latter half of the twentieth century. A member of the Bauhaus who fled to the U.S. Josef Albers (1888–1976) was an artist, teacher, and seminal thinker on the perception of color.
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