INTRODUCTION
We are always moving. Even when we appear to remain still, we keep on moving between our thoughts, our imagination, from one moment to another. Our ability to experience and change (learn, adapt, evolve) makes who we are as human beings. Moreover, we never simply are but keep on acting out the continuous state of becoming.
The sense of motion occurs via change in our senses, stirred by outer stimuli, which are then interpreted by our mind. This process is so natural that it requires little effort on our part: we do not need think or act in oder to experience our surroundings. We simply sense it. By placing awareness on our perception we can gain insight into why we react to certain stimuli and what kind of influence the surroundings has on our state of mind. Why we experience some places as unpleasant or constricting, whereas others may trigger in us a sense of freedom. Understanding this mechanism is vital for creating new experiences in visual arts and design.
Ellen Dexter1 suggests that if any form of visual art can be compared to thinking, it is drawing. Indeed, we can find drawing in the making of all forms of visual art. From ceramics or sculpture to painting and architectural sketches - artists from all fields of work use sketches and visual notes as a tool for developing their work. Sketches and drawings act as the intermediary between the idea of an artwork and its actual manifestation. The parallels between drawing and conceptual thinking make it a fascinating subject of research for exploring the link between art and spatial perception. This analysis seeks to shed light on the way we perceive and interpret shapes as spaces, the same way as the study of linguistics seeks to understand how we form and apply meaning to words.
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