Index

Aesthetics, 14, 40, 149-50, 158, 190

Albers, J., 2, 22, 29, 35, 50; on complementarity, 40; on depth, 57; and the focal perspective, 135; on intervals, 121; on quantity, 54; on simultaneous contrasts, 43, 49

Alberti, 78, 116

Alchemy, 19

Alphabets, 17, 146, 197; and the definition of particular languages, 2; typographical variations in, 14; for visual language, 3, 28-29

American Action Painting, 52

Andre, Carl, 146, 161

Architecture, 52, 60, 74, 75, 95; Arnheim on, 124; and the environmental cube, 108; perceptual time required by, 150; and sculpture, comparison of, 167, 168

Aristotle, 20, 184-85

Arnheim, Rudolf, 27, 29-32, 169-70, 189, 224; analysis of a woodcut by Arp, 123-24; on radiation, 36-37

Arp, J., 123-24

Artistic movements, 53, 67; American Action Painting, 52; baroque art, 12, 140, 167; Byzantine art, 127, 131, 134, 138; Chinese art, 131, 134, 143; constructivism, 56, 72, 140, 146, 166-70; cubism, 139, 166-70; Egyptian art, 134, 138, 160; formalism, 81, 110; futurism, 167; Gothic art, 133, 169; Indian art, 160; Italian art, 127; neoplasticism, 72; northern European art, 127; occidental, 132; Op art, 42, 48, 134; oriental art, 131, 132, 134, 143; primitive, 132, 134; Quebec Automatism, 52; Quebec Plasticiens, 138; support-surface movement, 103; twentieth-century abstract art, 52, 134. See also Greek culture, ancient; Renaissance

Austin, 131

Axes, 63, 54, 64, 72, 158; of the Basic Plane, 99-103, 108, 122, 133, 197, 198, 199; and distance and perspectives, 123, 132, 133, 137; and sculpture, 154, 162, 164, 175, 178

Bachelard, Gaston, 3, 65, 66, 69, 71

Baroque art, 12, 140, 167

Basic Plane, 55, 60, 63, 64, 75-107, 188-225 passim; and active and passive forces, 95-96; axes of, 99-103, 108, 122, 133, 197, 198, 199; and the disequilibrated plane, 85-96; and distance and perspectives, 117, 122-44 passim; and the effect of periphery, 105-107, 127, 128; energy and, 75, 82-83, 87, 95-102, 107-108, 122, 132, 206-8; and Euclidian geometry, 88, 95, 96; and the “frontal plane,” 76-77, 120, 121, 124, 180; and gravitational push, 85-87, 94-95; and grids of partition, 197, 198, 199, 200, 205-208; infrastructure of, 205-208; and laterality and lateralization, 89-93, 122, 126, 127, 215; other formats of, 101-105; and sculpture, “grammar of,” 145-46, 153, 160, 161, 164-66, 171, 172, 178, 180; structure of, 96-101; and virtual division and reiteration, 108. See also Plane, position in

Bergson, H., 71

Berlin, B., 33, 35

Bertin, Jacques, 17, 33, 61

Birren, Faber, 20, 22, 43

Blanc, Charles, 40, 118

Borduas, P. E., 133

Botticelli, 128

Bouissac, Paul, 192

Brancusi, C., 166

Braque, G., 78-79

Brazil, Caduveo tribes in, 134

Brunelleschi, 116

Buffon, 48

Bühler, K., 156

Buswell, G. T., 189

Byzantine art, 127, 131, 134, 138

Cassirer, Ernst, 110, 114

Cellini, 157

Centration, 9, 10, 192; and chromatic contrasts, 46; correlative region of, in the visual field, 53; perceptual, egocentric and partial character of, 111; and sculpture, 147, 153, 154; and relations between juxtaposed coloremes, 13; and volumes, perception of, 147. See also Ocular Fixation

Cezanne, P., 15, 138, 146, 195

Chandon, J. L., 186

Chemistry, 51

Chevreul, M. E., 20, 28, 32, 36; on complementarity, 38-39; on simultaneous contrasts, 43, 44; and texture, importance of, 51

Chiaroscuro, 156, 166, 240

Children: art of, 39, 92, 130, 134, 135-36, 137; genetic evolution of, 12, 140

Chinese art, 131, 134, 143

Chomsky, Noam, 2, 5, 66, 177

Christ, 161

Coca-Cola advertisements, 29

Color, 17, 18-32, 148; after-effects of, 47, 48; a priori theory of, 28, 29; Arnheim’s hierarchical system of, 29-32; and chromatic aureoles, production of, 41, chromatic dimension of, 8, 19, 21, 32-38, 43-46, 49-50; and chromatic poles, 32-38, 240; complementarity of, 29, 31, 35, 38-50; definition of, 8, 18-19, 20; density of, 46; and determination, principle of, 80-81; and dominant tint, 30, 31; dynamism of, 22-24, 29, 32; “good,” 29, 30; intensity of, 47; intervals, 57; juxtaposition of, 13, 22, 44-45, 47. 131, 136; “local,” 28; in macroscopic space, 18-19; nomenclature of, 21, 26, 24-26, 32; non-black and white as, 34; “objective,” 26; opaque, 22, 34; production of, systems of, 26-29; pseudo-, 22; pure, concept of, 23, 27, 28, 29; secondary, 28, 29, 31, 32, 33; of the spectrum (prismatic), 21, 22, 25, 26-27; and the surrounding world, 19; tertiary, 28, 29, 33; Quine on, 19; universe of, 18-22

—chromaticity of, 33, 34, 35, 210; and contrasts, 47, 48; destruction of, and external lighting, 38; and sculpture, 160, 162

—laws of interaction of, 41, 68, 74, 210; and junction and disjunction, 9, 29-32, 41, 74, 77, 202, 208, 219; and laws of equalization, 41-42, 58, 74; and optical mixture, 49-50, 54, 74; regroupings by, 211; and sculpture, 171; and successive and simultaneous contrasts, 40, 41, 42, 43-49, 74, 106, 221

—luminosity of, 20, 26, 27, 35, 36-38; and chromatic poles, 34; constancy of, under the influence of varied illumination, 37-38; and contrasts, 47, 48, 49; and depth, 56, 57; and equalization, 42-43; of optical mixtures, 50; and painting, 36, 38; and the principle of compensation, 31; and quality, 54

—primary, 20-21, 26, 27-28, 33; and chromatic correlatives to human vision, 32; components of, perception of, 45-46; differences between, 30

—saturation of, 31, 35-36, 46; and contrasts, 47, 48, 49; and depth, 56-57; and external lighting, 38; and proxemic perspectives, 132

—texture of, 17, 21, 48, 51, 62, 234-35; and depth, 52; and memory, 53; in painting, 51-53. See also Tactile stimuli

—tonality of, 22, 34, 35, 36, 46-69, 55, 210, 240; and perspectives, 131; and simultaneous and successive contrasts, 43-44. See also Coloremes

Coloremes, 5-11, 53-55, 193-96, 208, 212, 219, 234-39; chromaticity of, 37; chromatic silences between, 13; and corpuscles, 65-66; definition of, 9, 16, 17, 18; density of, dynamism of, 37; environments of, transformation of, 13-14; global characteristics of, 7; and grids of partition, 196-200; and luminosity, 37; as nuclei of energy, 66; and organizing mechanisms, 15; perceptual units of, and the visual field as a force-field, 65; and perspectives, 109, 123, 130; and processes of junction/disjunction, 9; and sculpture, 170, 172; separation between, 13; super-, 10; and syntactic rules, 65-75 passim; and vibrations of light, 66; and visual variables, relation of, 65. See also Color

Colorometry, chemical, 21-22

Compensation, principle of, 31

Completeness, law of, 39

Cones, 6, 32-33, 39, 46

Constable, J., 28

Constructivism, 56, 72, 140, 146, 166-70 Contrasts, 40-49 passim; and “accidental images,” 48; and perceptions of depth, 46, 48; successive and simultaneous, 40, 41, 42, 43-49, 74, 106, 221

Corpuscles, 65, 71

Crosmann, 21

Cubism, 139, 166-70

Dada, 147

Damisch, Hubert, 116, 117, 124

Degas, E., 166

Denis, Maurice, 2

Depth, 83, 88, 145, 222; and contrasts, 46, 48; in demi-reliefs, 156; and Euclidian space, 72; “grid” of, 213; as a “hidden dimension,” Hall on, 147; and implantation, 55-59; optical, 55-58; illusory, 58-59, 120-26; and texture, 52; topological, 120-26, 213, 215-16. See also Distance

Distance, 109-44, 204, 222; and sculpture, 158, 159-66, 181. See also Depth

Drawing, 39, 81, 91, 108, 176

Dubuffet, 138

Duchamp, Marcel, 52, 147, 155

Eco, Umberto, 190, 223

Edwards, Betty H., 92

Ehrenzweig, A., 6, 9-10

Einstein, Albert, 16, 66

El Greco, 49

Emotion, 14, 73, 115, 148, 149

Energy, 54, 162, 172, 219, 222-23; and the Basic Plane, 75, 82-83, 87, 95-102, 122, 132, 206-8; and color, 8, 21, 23, 26, 27, 59; and coloremes, definition of, 5, 15, 66, 153; matter as, 4, 16, 54, 66; and movement, Kandinsky’s definition of, 61; syntactic rules as regulators of, 65; and vectors, 61; and the visual field as a force-field, 65

Envelopment, 12, 13, 50, 70-71, 205

Epistemology, 4-5, 26, 147, 151, 163, 169; genetic, 191

Equalization, laws of, 41-42, 58, 74

Equilibrium, 9, 11, 30, 85-96, 154, 165, 174, 190-91, 207

Evolution, genetic, 12

Feminine, and masculine, 83, 95-96

Figurative art, 31-32

Focillon, 170

Form(s), 61-64; actual and virtual, 47, 63-64, 230-33; definition of, 8; “good,” 9, 10, 29, 73, 156, 173-74, 204, 211; open and closed, 10, 63; repertory of, 64; and sculpture, 148, 151; and texture, 52

Formalism, 81, 110

Formation, laws of, 5

Foucault, Michel, 149

Foveal vision, 6, 7, 9, 10, 15, 124-25, 128, 148, 181, 192, 194-95, 202

Francastel, P., 117

Freud, Sigmund, 115

Fuchs, Wilhelm, 47

Futurism, 167

Gabo, Naum, 178

Gaze, 151, 153, 172, 188, 191-92

Genetics, 3

Geometry, 64, 66, 79-82, 83, 173; hodological, 11; the geometric line, 80, 81, 82; and natural perspectives, 118; projective, 72, 118, 167

—Euclidian, 4, 11-13, 68, 72, 88; and perspectives, 118, 119, 120, 121, 136, 140, 144; and sculpture, 169-70

Gestaltian relations, 63-74 passim, 193, 203, 208-11, 221, 241; and the Basic Plane, 85, 98, 101, 108; the figure-ground relationship, 73; and gestalts, 73, 79, 83, 96; good form, 9, 10, 29, 73, 156, 173-74, 204, 211; junction/disjunction, 9, 29-32, 41, 74, 77, 202, 208, 219; and perspectives, 131, 135; the proximity of visual variables, 73; and sculpture, 171; similarity, 41, 73. See also Gestalt theory

Gestalt theory, 10, 21, 30, 43, 63, 146; depth of field in, 57; and Kandinsky, 77; and the law of contrasts, 49; totality in, 41, 42. See also Gestaltian relations

Ghiberti, L., 161

Gibson, James J., 52, 112, 191

Giotto di Bondone, 142

Glaze, 51-52

Global characteristics, 9, 17, 63, 77, 135, 149, 163-74 passim, 202; and the Basic Plane, 78; and envelopment, 13; and equalization, 42; global structure, 182, 190, 219, 220; and the process of interpretation, 10; and quantity, 54, 55

Goethe, W., 20-21, 22, 34, 140; contrasts in, 43, 46; law of completeness in, 39; theory of aesthetics, 40

Gombrich, E. H., 20, 119, 134, 162

Gothic art, 133, 169

Grammar, 2, 5, 67, 74, 130, 188, 199, 223, 225; Chomsky on, 66; prime objective of, 65; “of sculpture,” 145-82. See also Syntax

Graphic semiology, 17-18, 33, 61, 222-25

Greek culture, ancient, 20, 25, 33, 110; aesthetics of, 158; and perspectives, 118, 134, 137, 138; reliefs from, 160

Greenberg, 165

Gregory, R. L., 114, 118

Greimas, A. J., 148, 149

Guillot, Marcel, 51, 58

Gutenberg, 17

Hall, E. T., 112, 121-22, 124, 125; on depth as a “hidden dimension,” 147; on proxemic perspectives, 132

Harmony, 30, 31, 57, 98, 117; and ancient Greek aesthetics, 158; and elements of the Basic Plane, 84, 87; Chevreul on, 32

Herbin, A., 56

Heterogeneity, 41, 53, 71, 128, 152, 176, 185, 210, 214

Hildebrand, Adolf von, 163, 164, 165-66

Hiler, 27

Hjelmslev, L., 7, 25, 183-84, 201

Hofmann, Hans, 38, 57, 121, 165, 168

Hokusai, 189

Homogeneity, 42, 43, 47, 69, 114, 184, 210; and gestaltian relations, 73; and perspectives, 133

Iconic images, 8, 9-10, 138, 201, 221; Lindekens on, 14, 188-89

Implantation. See Plane, position in

Impressionism, 28, 49, 67, 76-77

Indians, of northwest coast of Canada, 138

Individualization, 4, 66

Interaction, laws of. See Color, laws of interaction of

Intuition, 66, 68, 77, 90, 160, 170; children’s, of personal points of view, 140; logical, Kandinsky’s use of, 79, 85, 95, 140; topological, 11, 12, 13, 69, 71

Itten, J., 22, 23, 31, 46, 56

Jackendoff, Ray, 223

Jakobson, R., 67

Jaynes, J., 90

Judd, Donald, 146

Junction/disjunction, process of, 9, 29-32, 41, 74, 77, 202, 208, 219

Juxtaposition, 13, 22, 44-45, 47, 131, 136

Kandinsky, Wassily, 2, 8, 21, 61, 195; and the Basic Plane, 74-100 passim, 108, 122, 145-46; on the “empty canvas,” 79; and the use of thermal values, 59-60, 61, 83

Kanizsa, G., 52, 62

Katz, David, 37, 44

Kay, P., 33, 35

Kinesthetic stimuli, 13, 35, 53, 60, 83, 128, 160, 180-81, 219; and the baroque perspective, 140; and the Basic Plane, 95, 108; and sculpture, 151-52, 154, 155

Klee, Paul, 2

Klein, Robert, 129

Kline, Felix, 140

Knowledge, 66. See also Epistemologv

Kobro, K., 167, 168

Kohler, W., 23, 43-44, 46, 73, 96

Krauss, Rosalind, 145

Kristeva, Julia, 142

Küppers, H., 22, 24, 43

Lacan, Jacques, 115

Language, verbal, 2, 3, 113, 116, 201, 222; color in, varied descriptions of, 25-26; deep structures in, 177; definition of, Chomsky on, 2; and Greimasian semiotics, 148-49; and morphemes, 3, 5, 7, 13, 25-26; and phonemes, 3, 5, 7, 8, 26, 146; and phonology, 3, 5, 75, 108, 193, 200; physiological mechanisms related to, 89-91; translation of visual language into, 223; and vowels, 25-26. See also Alphabets

Largilierre, 34

LeBlon, J. C., 20

Leonardo da Vinci, 116, 121, 148, 161

Lessing, 113, 150

Levi-Strauss, Claude, 134

Levy, J., 90

Lewin, Kurt, 4, 9, 184-85, 188, 224; on the reductive methods of physicians, 10; topological psychology of, 11, 69

Lhote, Andre, 8

Light, 22, 24, 26, 27, 40; and chromatic poles, 33, 34; and coloremes, definition of, 66; dependence of color on, 24; division of, used in television, 27; -ing, external, 37-38, 181-82; and luminosity, 36, 37, 40; and the mediation of colors, 8; radiation of, study of, 21; reflection of, 18, 26, 28, 33, 40, 65; refraction of, 26, 34-35, 50; scientific view of, 18-19; and sculpture, 162; shadow and, 38, 47, 165-66, 174; spectral division of, 21, 24-25, 26. See also Color, of the spectrum (prismatic)

Lindekens, R., 14, 188

Lippi, 128

Lissitsky, El, 56, 140

Lomazzo, 116

Louis, Morris, 103

Lucien, 113

Luminosity. See Color, luminosity of

McLuhan, M., 17

Macular vision, 6, 7, 9, 15, 192, 194-95, 202, 222; and distance and perspectives, 120, 127, 128; and variations in color perception, 21

Magritte, R., 149

Malevich, K., 138

Marin, Louis, 3

Masculine, and feminine, 83, 95-96

Mass, pictoral, 54, 57, 63, 64. See also Matter

Mathematics, 91-92, 122, 127, 140

Matter, 3-4, 24, 65; color as a property of, 18, 24; and energy, 4, 16, 54, 66; “fluid,” in baroque art, 12; and the material of specific visual arts, 16; “resistance of,” to attempts to structure reality, 77

Mattise, H., 15

Maxwell, J. C., 20

Meaning, 29, 89, 222; production of, Foucault on, 149; in verbal language, 14, 17; Wittgenstein on, 18

Measurement, metric, 6, 11, 12, 54, 55, 213

Memory, 9, 10, 23, 29, 59, 117-18, 121, 151, 174, 181, 196, 221; “colors of,” 48-49; and sculpture, perception of, 150, 153, 157, 172; short-term and long-term, 150, 194; and texture, perception of, 53

Merleau-Ponty, M., 151, 154

Michelangelo, 164

Middle Ages, 116, 134, 137, 161

Mimetic function, 24, 53, 78, 128, 135, 147, 158, 162

Minimalism, 138

Moholy-Nagy, L., 58

Moire effect, 48

Molinari, Guido, 93

Molino, J., 192

Molnar, F., 189

Mondrian, Piet, 2, 34, 47, 72, 80, 81, 195; active and passive forces in, 95; and the checkerboard perspective, 136; and extension of the painting to the very frame, 106; neoplasticism of, 138; and the projective perspectives, 140; use of white, 131

Moore, H., 169

Morphemes, 3, 5, 7, 13, 25-26

Morris, Robert, 146

Mouloud, Nöel, 53

Movement, dynamics of, 66, 72, 95-96

Mukarovsky, J., 16

Munsel, A. H., 22, 31, 40

Musatti, C., 42

“Musatti effect,” 62

Namuth, H., 104

Nature, 39, 111-14, 148-49, 152, 155, 157-58, 162, 182

Neighboring, 57, 69, 131

Neoplasticism, 72

Newman, Barnett, 102-3, 138

Newton, I., 20, 40, 72, 95

Nietzsche, F., 66

Objectivity, 26, 36, 77, 109; of the materiality of the Basic Plane, 78, 82, 94; and ocular fixations, 9; and pseudocolors, 22

Ocular fixation, 5-6, 9, 15; and coloremes, definition of, 16, 17, 153; and coloremes, delimitation of, 13; and sculpture, 153; and successive perceptions of color, relation of, 23, 44, and visual variables, relation of, 18. See also Gaze

Ontology, 71

Op art movement, 42, 48, 134

Optical science, 21, 26, 40

Ostwald, F. W., 22, 31, 43

Painting, 74, 75, 91, 108, 188; Arnheim on, 124; and complementarity, 38; definition of, as an entity structured as a field of forces, 6; elements equivalent to phonemes in, Marin on, 3; elements of, vs. elements of drawing, 81; Herbin on, 56; and luminosity, 36, 38; and optical mixtures, 50; and prismatic color, 27; and sculpture, comparison of, 151, 189; texture in, 51-53; the “touch” in, present in brushstrokes, 36. See also specific artists

Panofsky, Erwin, 110, 111, 114, 127-38 passim; on perspectives, 133, 137, 138; on sculpture, 161

Passeron, R., 8

Penfield, Wilder, 89

Perception, 4-16 passim, 72, 109-14, 192; and color, paradoxical existence of, 24; perspectives of, 179-82; and physical continuity, 13; and problems of “visibility,” 16; pure, and topology, 68; Rorschach’s tests on, 73; and spatial continuums, as constructions, 71; subjective and objective aspects of, 4-5; successive and simultaneous contrasts in, 40, 41, 42, 43-49. See also Memory; Percepts

Percepts, 4, 17, 155; coloremes as, 66; cortical synthesis of, depth as, 147; fluidity of, 44; memory recall of, 29; as subject to the law of change, 23. See also Memory; Perception

Perspectives, 109-44; anamorphic, 144; arabesque, 134; atmospheric, 142-43; axial, 137; baroque, 140; bird’s eye, 143; cavalier, 138-39; checkerboard, 136; of cubism, 139; far distance, 141-44; focal, 134-35; folding-back, 138, 139; frontal, 137-38; in height, 143; intermediate or middle distances, 137-41; inverted, 142; isometric, 140-41; linear or central, 141; microscopic, 136-37; modalities of, 211—13; networks of, and sculpture, 155-58, 171; oblique, 131, 142; optical, 132-33; parallel, 131, 133-34, 137; of perception, 179-82; projective, 139-40; proxemic, 132-37, 157, 212-13; reversible, 135; spheric, 137; staggered, 143; tachist, 136; unistic, 135-36

Peters, J. M., 129

Petitot-Cocorda, J., 224

Phonemes, 3, 5, 8; Chomsky on, 146; chromatic content associated with, in Rimbaud, 26; constitution of, 7; and the learning of alphabetic writing, 146. See also Phonology

Phonology, 3, 5, 75, 108, 193, 200. See also Phonemes

Photography, 14, 60, 74, 75, 108, 141, 158

Physics, 3-4, 72, 94; basic elements of, 4; dynamics of movement in, 66; notion of mass used in, 54. See also Energy; Matter

Piaget, Jean, 13, 77, 81, 91, 159, 190-91; on children’s modes of representation, 140; the coordination of perspectives in, 112-13; internal and external volumes in, 11, 12

Pigments, 51-52, 53

Pinson, S., 186

Plane, position in, 17-18, 54, 55-59, 76; and axes, 63, 64, 72, 99-100; and bidimensionality, 72, 165, 203, 204, 205; colors of, and film colors, 44, 47, 60; and illusory depth, 58-59; and internal volumes, 63, 64; and line/contours, 63; and the movement of “push and pull,” 57, 122; and optical depth, 55-58. See also Basic Plane

Poetry, concrete, 146

Pollock, Jackson, 15, 103, 104, 134, 195

Poncelet, J.-V., 140

Prieto, Luis J., 3, 13, 14

Printing, 27, 33

Production, artistic, 16-17, 115; and chromatic poles, 33, 34; and complementarity, 38-39, and contrasts, 48, 49; and extension of the painting to the frame, 106; and near vision, vs. distant vision, 164, Pollock’s “dance” around his canvas, 104; and the position of the producer, in relation to the field, 128-30; and sighting, 129; and syntactic rules, 67; and thermal values, 59-61, 83

Propositions, 3, 13, 220

Psychology, 37, 169; topological, of Lewin, 11, 69. See also Gestalt theory

Pulverization, of a pigment, 51

Quebec Automatism, 52

Quebec Plasticiens, 138

Quine, W. O., 19, 20

Rabati, H., 51

Raphael, 128

Read, Herbert, 145, 147

Referentiality, 53, 148; signifier/signified relation, 78, 110, 150. See also Representation

Renaissance, 110, 116, 117, 119, 124, 129, 132, 134, 139; sculpture during, 158, 161-62

Representation, 6, 53, 72, 190; deviant forms of, 67; field of, analysis required for an account of, summary of, 203-4; of the human face, 64; norms of, and illusory depth, 59; and perspectives, 109-44. See also Referentiality

Retina, 6, 39, 47, 60

Riegl, A., 110, 134, 151, 152, 162, 163, 164, 166

Rimbaud, Arthur, 26

Rodin, A., 166

Rods, 6, 46

Rorschach, H., 10, 73, 202

Rosenblum, Robert, 139

Rosso, M., 166

Salomé-Lagrange, Marie, 186-87

Saturation. See Color, saturation of

Saussure, Ferdinand de, 1, 77

Schapiro, Meyer, 78

Schopenhauer, A., 40

Science, philosophy of, 3-4, 24. See also Physics

Sculpture, 2, 27, 52, 60, 95; Arnheim on, 124; “grammar of,” 145-82; Hellenic, 161; and the “limiting-limit,” 167-68, 173; many-sided meanings of, 147-48; and the Virtual Cube, 74, 75, 108, 171, 173-80, 193

Segmentation, 200-201, 204, 220

Seurat, Georges, 106, 146

Shadow, 38, 47, 165-66, 174

Sighting, 129, 204

Signac, Paul, 76

Signifier/signified relation, 78, 110, 150. See also Referentiality; Representation

Smith, Tony, 156

Space, 4, 13, 14, 38, 65, 71, and contrasts, 47; notions Basic Plane, 82, 83, 95, 96 83, 119; and texture, 53; three dimensions of, 153; time, 9, 19, 51, 111, 153

Spatialization, 11-15, 115, 117, 132, 204

Spectrum, 21, 22, 25, 26-27

Steiner, Rudolf, 140

Still, Clifford, 138

Structuralism, 1

Strzeminski, W., 135, 146, 147, 155, 167, 168, 177

Subjectivity, 94, 109, 128, 155; and modalities of perspectives, 211-12; perceptual variables, definition of, 17; and semiotic analysis, 10, 194

Substantialism, 156

Support-surface movement, 103

Suprematism, 72, 138, 140

Sweeney, James J., 81

Symmetry, 64, 70, 92, 139

Syntax, 1, 41, 59, 65-75, 77, 96, 183-225; energetic character of, 66; first level, 67; and gestaltian relations, 72-74; realization, path of, 158, 166; intuitive use of, 66; and the laws of interaction of color, 68, 74; and the operator of concatention, 201; and operators of integration, 200; and perspectives, 109-44; of sculptural language, 170-82; three principal levels of, 68; and topological relations, 68-72, 74. See also Gestaltian relations; Grammar

Tactile stimuli, 13, 35, 60, 108, 114, 128, 160, 219; and sculpture, 151, 152, 154-55. See also Texture

Tapestry, 32, 51

Taraboukine, Nikolai, 81

Tardy, C. M., 188, 189

Television, 27

Tesniere, Lucien, 222, 224

Texture, 17, 21, 48, 62, 234-35; and depth, 52; and memory, 53; in painting, 51-53. See also Tactile stimuli

Thom, René, 4, 150, 223-24

Thürlemann, Felix, 2-3, 8

Time: perceptual, required by various art forms, 150-51; and space, 9, 19, 51, 111, 153

Titian, 49

Tomatis, Alfred, 91

Tonality. See Color, tonality of

Topology, 11-15, 55, 59, 63, 204-205; characteristic of elasticity, 6, 7; communications in, 69; and complementarity, 40; components of direction in, and vectoriality, 61, 71-72; and envelopment, 12, 13, 50, 70-71, 205; and Euclidian geometry, 4, 11-13, 72; internal and external volumes in, 11, 12, 13, 40, 54; intuitions of, 11, 12, 13, 69, 71; limits in, 69; locomotions in, 69; neighboring/ proximity in, 57, 69, 131; notion of surface in, 12, 13; order of succession in, 69-70; “paths” in, 68-69; and perspectives, 131; and sculpture, 171; separation/distancing in, 57, 69; and syntactic rules, 68-72, 74

Transparency, 58, 139

Troubetskoy, 75, 108

Tzara, Tristan, 147

Unconscious, 66

Values: gravitational, 60-61; thermal, 59-61, 83, 108, 120

Vasarely, V., 8

Vectoriality, 11, 17, 54, 61, 63, 71-72, 74, 101, 217, 236, 239, 241; and the Basic Plane, 85, 94, 97; oblique, 131; and perspectives, 131, 136, 140, 141; and sculpture, 159, 166, 167, 171, 178; and texture, 52

Veltrusky, J., 20

Video, 108

Virtual Cube, 74, 75, 108, 171, 173-80, 193

Vision, physiological mechanisms of, 6-7, 21, 32, 89-90, 189, 203-204, 210-11; and blinking, 48; capacity of, to recognize the components of color, 31, 45-46; and color-receptors, 27, 32-33; and contrasts, 48; and depth, 58; foveal, 6, 7, 9, 10, 15, 124-25, 128, 148, 181, 192, 194-95, 202; and the laws of the interaction of colors, 41; and luminosity, 36; near and distant, and sculpture, 164; neurophysiology of, 32-33; and notions of distance, 120; and perceptual contiguity, 13; peripheral, 6, 9, 10, 120, 127, 128, 142, 162, 192-93, 201-202, 222, 225; and receptor-cones, 6, 32-33, 39, 46; and reflected colors, 27-28; and the retina, 6, 39, 47, 60; and sculpture, 170, 181; and successive perceptions, 23, 189-90; and texture, 50-51; and the visual cortex, 21, 36. See also Gaze; Macular vision; Ocular fixation

Visual variables, 16-65; and coloremes, relation of, 65; definition of, 17, 18; plastic, 18-32, 47, 80; tensions animating, and topological relations, 68; and thermal values, 59-61. See also Color; Texture

—perceptual, 53-59; boundaries, 17, 45, 47, 54, 55, 61-64, 235; definition of, 17; dimension (quantity), 17, 54-55; and illusory depth, 58-59; and optical depth, 55-58. See’ also Form; Plane, position in; Vectoriality

Volume(s), 36, 38, 154; internal and external, 11-14, 40, 54, 63, 64, 147, 159-72 passim; perception of, and bidimensionality, 151; perception of, and centration, 147; and sculpture, 147-82 passim

Vowels, 25-26

Wallach, H., 37

Wertheimer, Max, 49

White, J., 141

Wittgenstein, I., 18, 23, 34

Wölfflin, H., 110-11, 121, 129, 131, 140

Wörringer, W., 160, 163, 164, 168

Yilmaz, H., 19

Zeuxis, 113