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Liminal Perspective: Still-Life and Interactive 3D Animation

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dc.contributor.authorEddy, Adam M.en
dc.contributor.committeechairWeaver, Rachel L.en
dc.contributor.committeememberLechner, Amanda Louiseen
dc.contributor.committeememberDuer, Zachary Raymonden
dc.contributor.departmentArt and Art Historyen
dc.date.accessioned2022-06-24T08:00:17Zen
dc.date.available2022-06-24T08:00:17Zen
dc.date.issued2022-06-23en
dc.description.abstractLiminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.en
dc.description.abstractgeneralLiminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.en
dc.description.degreeMaster of Fine Artsen
dc.format.mediumETDen
dc.identifier.othervt_gsexam:34987en
dc.identifier.urihttp://hdl.handle.net/10919/110914en
dc.language.isoenen
dc.publisherVirginia Techen
dc.rightsIn Copyrighten
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/en
dc.subjectarten
dc.subjecttechnologyen
dc.subjectstill-lifeen
dc.subject3D animationen
dc.subjectcomputer visionen
dc.subjectphysical computingen
dc.subjectperceptionen
dc.subjectpaintingen
dc.subjectperspectiveen
dc.titleLiminal Perspective: Still-Life and Interactive 3D Animationen
dc.typeThesisen
thesis.degree.disciplineCreative Technologiesen
thesis.degree.grantorVirginia Polytechnic Institute and State Universityen
thesis.degree.levelmastersen
thesis.degree.nameMaster of Fine Artsen

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