Visual Studies Commons^™

A Model Of Human Scale Tested On Rural Landscape Scenes, Richard K. Sutton

Great Plains Research: A Journal of Natural and Social Sciences (through 2013)

Landscapes such as the Great Plains have been described as lacking human scale. This study developed a quantitative model of human scale and compared it with viewers' perceptions of visual structure. Visual structure was selected from the physical features of Otoe County, NE, forming boundaries, found as ground textures, vegetative screens, and topographic breaks and was depicted in photographs of landscape scenes. The model used and tested nine classes of scale based on grain and extent of the photos rated by viewers against those from the model. Viewers identified boundaries representing grain and extent that were synthesized into a viewer-perceived …

Sexuality, Exoticism, And Iconoclasm In The Media Age: The Strange Case Of The Buddha Bikini, James Mark Shields

Faculty Contributions to Books

No abstract provided.

Mind Vs. Media: A Civil War Between Typography And The Mediated Image, Elizabeth J. Neffinger

Senior Honors Theses

The past thirty years have marked the start of a new kind of civil war in our digitally powered American society. There is a deep chasm between the cry for the lost art of typography and the mediated power of the Image. We are a culture battling a war in our own heads, attempting to assimilate Images without replacing the need for a written text.

This thesis will argue that the mediated Image is not a death sentence to critical thinking; rather it is an undeniable, inescapable power that can be used to positively influence our culture. It will research …

The Science Behind Francesco Borromini's Divine Geometry, John G. Hatch

Visual Arts Publications

No abstract provided.

Machian Epistemology And Its Part In František Kupka's Painterly Cognition Of Reality, John G. Hatch

Visual Arts Publications

A consensus has emerged amongst art historians that portrays the work the Czech painter, František Kupka (1871-1957), as fluctuating between differing styles and never resolving itself into one straightforward and single-minded direction beyond abstraction. Visually this is true, but for Kupka the visual was secondary in that it plays a subsidiary role to the process involved in the creation of the work itself. A failure to properly understand this process has resulted in an inaccurate reading of Kupka's art, essentially missing the point that his paintings embody in their imagery the cognitive process involved in their creation. Significantly, as I …