2. The cognitive process, as we discussed
earlier, involves the decoding of the perceptual
code. What that code is, is at this time, an
unknown. But it is known that a code, in fact
does exist, and that cognition largely occurs
due to a process of association. This means
that the secondary visual cortex can associate
the new code with old, already decoded,
information.
3. Cognition occurs, when a meaningful
association occurs. (Meaningful, here, refers to
an “Aha! Moment”; something other than
vague.)
Let us look at an example at how this might
occur.
7. These associations, which are, no more than,
“intelligent guesses”, are, also, responsible for
cognitive errors such as: expectancy effect, the
halo effect, selective observation, contrast
effect, projection and stereotyping.
8. It is, clearly, to our advantage to analyze
incoming data thoroughly, before we commit to
association. In the scene shop, carpenters call
it, the “measure twice-cut once” principle.”
9. We are often called upon, or, perhaps, have
an urgent need to represent our thoughts in
some visual way. This may be through
physical expression or symbol. A gesture is
a form of non-verbal communication used to
convey signals that have some universal
value. We are all familiar with physical
gestures. Actors employ them all the time.
Other types of symbolic gestures are
represented in another mediums,such as
paper for example.
11. These symbolic gestures are represented by
primitive structures, mostly, what we understand,
as points and lines. Some of our simplest
symbolic representations, in general , also, tend
to be expressed as lines. Letters, numbers, even
universal symbols
are often little more
than lines.
Olympic sports symbols
Choreographic notation - dance
12. When attempting to communicate through
visual means, we rely on these primitive
constructs or “primitives” to carry our
meaning. Before we make these ideas visible,
it is traditional, to imagine them first.
Since, we’ve already talked about
imagination, hopefully, it won’t be difficult to
understand these conceptual elements of
design.
13. The conceptual elements are neither visible
nor perceived. They are, rather, imagined or
conceived.
The conceptual elements are instrumental to
the visualization of design. Although abstract
in nature, the conceptual elements have
their most practical application in
mathematics and physics, but they have also
made significant inroads into the arts,
including theatre
14. There are five (4) conceptual elements of
design.
Point
Line
Plane
Volume
15. Conceptual space
Conceptual space is a condition in which
imagination is possible.
It has no length, width or height.
In neither moves nor is stationary.
It has no direction nor position.
16. Conceptual point
A conceptual point represents position in
space.
Point has no length, width or height.
It does not occupy space
It is the beginning and end of every
conceptual line segment.
It is where a conceptual loop, or two
conceptual lines meet.
17. Representation of a point
Representation of a point
Representation of a point
20. Conceptual Line
A conceptual line is a path created by a
conceptual point in motion.
A conceptual line has length and direction,
but has no width or height.
A conceptual line has direction and
position.
A conceptual line is bound by points.
A conceptual line forms the boundaries of
a
plane.
22. Conceptual Plane
A conceptual plane has length and width
but
no thickness.
It has position and direction.
It is bound by lines.
It defines the external form of a volume.
It marks the location of a loop
or where two lines intersect..
24. Conceptual Volume
Conceptual volume has position in space
and is bound by planes.
It has length, width and height but no
weight.
It defines the exact amount of space it
encompasses.
25. The conceptual elements may be represented in
two and three dimensional design. Once the
conceptual elements are represented in visual
terms they become visual elements and are,
then, defined differently.
