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Mark Robinson, Perspective 4
Mark Robertson
Perspective 4, 2001

Strata/Bryce Rendering

Perspective 4

•Grabbed the image off your site, opened it in Photoshop.
•Took the half-shape from the goblet by line projection - reverse engineered uchello so to speak (and learned a lot about the way he was thinking about this particular problem in the process) to extrapolate the perspective he employed since you couldn't just trace the thing and lathe it cause it would be all messed up since it's at a wide angle view ... then used the vector pen tool to make a black filled vector shape (EPS) on a layer over the drawing which i exported as an adobe illustrator path.
•Imported the vector shape into Strata, and spun it 360 for the wireframe shape
•Exported the shape as a DFX file
•Imported the DFX into Bryce and gave it a refractive index equal to mildly leaded glass
•Set it down in in a simple voxeled space - with the best fractal implied distance money can buy. Let the clouds cast shadows to push that perception. Uchello would have liked it.
•Imported the Uchello goblet image and projected it onto a 2D plane. This is kind of tricky here - because this plane doesn't have any thickness. I mean - if you look sideways at the Uchello drawing you would see it! Zip! Nada! By definition in the materials palette. Whoa...
I could have extruded a block to let it sit on something solid, or at least the thickness of foolscap - but i was starting to get into the illusion of this Uchello drawing just starting to float around in time and space. I mean - this guy neglected his wife to pencil this thing out and 500 years later we're passing it around in binary code 011001011110001010 like it was a real thing - and the thing is, it's just as real now as it was back then when Uchello was trying to pry it out of his head with the sharp end of pencil onto some scraped sheepskin or whatever.

Damn goblet was probably sitting there on the table full (and then half full, and then empty, and then full again) of wine and all the time picking up lead and poisoning the dude and it's got him up and manic and maybe impotent too (a real artist...) and now it's here zipping back and forth over the wires (bill gates probably owns the rights to it) and laying out flat on our computer monitors with a supernuminal luminance that would have awed the shit out of Uchello and his contemporaries - a nearly spiritual quality because hey, things die, lots of things died, and this thing flies on the backs of electrons which if you ask me aren't a hell of a lot different than what they thought angels were like back then.

It was magic then, and it endured, and it's magic now.

So (sorry about the digression, i got excited - must be the damn lead) i thought hey - let the Uchello hang there one dimensionally like a hologram which is very close to what is happening in our brains when we think of things like this. People that can take a conceptual object like this and twiddle it around in their mental fingers have a skill so desirable that the military and corporations test for it and if you guineapig out good with a "High Spatial IQ" well hey you're officer material...
So - here's this binary encoded, RGB deciphered electron gun phosphor dot pixelated voxel-boxed enduring and evanescent image - just hanging shimmering there in space superimposed by a very real looking but no less ephemeral thing made by projecting it from 2D to virtual 3D and then slammed down into this fractal generated pseudo-infinite plane environment where all of it together does so good a job of pretending to be something that our perceptual and social conditioning latch onto the clues and suddenly we're believers.

Here is a real slick conceit of the history of conceptual projective perspective - and it speaks to us as believers in time and space and numbers us among those willing to recognize and love the illusion we live in, and love the thing we use to think about that illusion. This is not a painting of a duck in a pond.

Uchello was out there doing hard labor in the world of the metrics of the visual perception of the relationships between our experience of reality and space and how we see ourselves and things in it (and how to get your hand on that glass of wine without knocking it over) and the shorthand we use to navigate and display those coordinates.
Uchello wasn't a Ruebens, wasn't all about how we're taught to feel about butts and thighs and so onto into the present milieu where the eventual sublimation of that sort of consciousness devolves into an educational system and social gestalt that programs us to want to buy a car when we see high albedo glare on a nylon stocking - Uchello was conceptual, he was abstract, he was interested in the metrics of illusion.

I need some wine.

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