Light Moving in Time : Studies in the Visual Aesthetics of by William C. Wees

By William C. Wees

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13] What the artist does, in principle, is copy the image produced where the glass intersects the "pyramids," duplicating (to the degree his or her materials and skill permit) the exact shapes, colors, and shading seen there. [15] They talked about images as if they were explaining concepts in geometry and mathematics. Vision became a question of "lines" forming "pyramids" that converged on a "point" in the eye, and painted pictures were simply larger versions of the picture produced by the same "pyramid" within the eye itself.

38] A good example is his own Song XII (c. 1966), which he has explained came about because of his extremely negative reaction to Chicago's O'Hare airport. Being in the airport had given him a terrible headache, and he decided that the cause had been O'Hare's long, glass-enclosed corridors, which made him feel trapped in a maze of vanishing points. Subconsciously his eyes had been fighting the strong pull of the corridors' lines of perspective and their dramatically emphasized vanishing points—effects made even more disturbing by the glass walls that superimposed and reflected them ad infinitum .

Touch in some way decomposes the light, separates the colors, distributes them on the objects, and detaches a clear space. In this space are shapes and sizes. Touch opens before my eyes a certain distance, and shows them the way by which they may look over the far earth, and rise even to the heavens above. "[21] 3— The associationists' premises about vision can support a very different line of argument, however—one in which "learning to see" becomes a loss rather than a gain, and the presumed "chaos" of infant vision may seem an Eden of innocent perception.

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