I must interject here to say that the usual vanishing
point perspective is a visual code that reflects a
"taste" or preference for one particular way to
project 3-d space on a flat surface.  Perspective is
not science or truth re vision.  It is a system based
in geometry.  It is false in demonstrating reality,
even if we close one eye.  (I've commented on how we
really see before, citing professional sources, but am
always ignored). 

The rail tracks do not meet in the distance except in
perspectival, fantasy space. The tops of level
buildings don't tilt to the ground. People in the
distance are not really tiny.  I agree with Miller
here.  You can't exclude taste from art instruction,
even if you teach one taste today and another
tomorrow. There are other perspective systems that
don't rely on the vanishing point. It depends on your
taste.

WC


--- [EMAIL PROTECTED] wrote:

> I'll keep this short, making myself stick to one
> example.
> 
> When I was a boy the only "artists" I was familiar
> with   were Hal Foster, 
> Milton Caniff, Alex Raymond, Willy Pogany, Al
> Hirschfeld, Norman Rockwell, and, 
> thanks to the library, George Bridgman. (You have to
> forgive me a little bit 
> because I lived in a small Connecticut community
> with no art school and not 
> even a museum.) 
> 
> I wanted to do what those "artists" did.   So I went
> to that good old library 
> and took out books on "drawing".   One of the things
> I learned with happy 
> astonishment was the "laws" of perspective. (They
> were much easier to learn than 
> Bridgman's "The Seven Law of Folds".)
> 
> Here's my question for Chris. Given my philosophy of
> language positions, I 
> grant you can inflate the word 'taste' to cover damn
> near anything, but with 
> your   honest notion of "taste" I ask this:  
> Accepting that many art schools 
> have quickie courses on perspective, do you really
> believe that all the art 
> schools ever teach is "taste"? 
> 
> 
> **************
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> out AOL Travel Guides.
>       
>
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