CONTRAST EFFECT – PERCEPTION

Post 164 by Gautam Shah

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1 Simultaneous Contrast

Simultaneous Contrasts Wikipedia Image

We perceive things by different sensorial faculties and against many diverse contexts. In addition we perceive things and happenings in time and space scale. Whenever some details are required, the other senses fill-up the specifics. Typically our bilateral faculties like eyes and ears continuously back up the space position details. Similarly multilateral nodes of touch also support such a process.

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experimental Night vision goggles

Space position or time marking details are affected by the quality of context. Where the context is dulled or rapidly changing the particulars of things and happenings fail to register effectively. The ‘back or fore’ grounds offer a scale to size-up the perception, and also format relationships in terms of now-then, here-there, far-near, etc. The time factor operates as ‘Concurrent and Sequential contrasts. These two aspects are affected by our past experiences and expectations (desires). The aberrations of perception arise from here. The way colours are seen or weights are felt is due to such contrasts. Our past experience and desires make us see or experience things before they happen at closer locations.

Contrast

Contrast or contextual effects created or employed in our daily life, are in home arrangements, food menus, dressing, expression and communication, etc. We create visual emphasis by accentuation of colour, illumination, texture, patterns, surface exposure duration and extent, etc. We generate audio accents by sound pitch, pressure, time gaping, replaying in different frequencies, etc. Touch experience is controlled by proximity, duration, exposure of body-limbs, extent and additional information such as temperature (warmth-cold), moisture, breeze, etc.

Contrast Abstract Metal Lines Fabric Folds

Camouflage

The contrast effects can be attuned by manipulating the time and space fields. TV programmes often separate out the interviewer and interviewee in time separated frames, within same frame by superior-inferior positioning, or by comparative sizing. Additional information such as audio-video clips can break the relationship developing between the two time and space consecutive items. In a formal party tea, coffee or pre-post dinner drinks are served in different rooms-ambience.

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Colour contrast due to colour blindness

Contrasts occur within same reference of framing. Such contrasts are of position, orientation, scale or direction. Contrasts also occur as reference to an experience (of the past), which are intense or diffused, fragmented or converged with many others. There is no physical presence of framing. In the first case, the contrasts are framed objects and dealt (stored, manipulated, re-expressed or communicated) accordingly. But in the second case, the contrasts are transient, and if one tries to manage these by way of storage, expression or communication, it becomes a new subjective interpretation.

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This was a later day Blog > from my site >> https://wordpress.com/view/designsynopsis.wordpress.com

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SPACE PLANNING by Visual and Non-visual means

Post -by Gautam Shah

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The personalization of a space achieved through visual means is very obvious as much as it is effective. However, use of non-visual sensorial effects for personalization of space are very subtle but equally effective. Non-visual sensorial effects are not easy to perceive, record, communicate and express.

640px-Standen_InteriorProfessional designers, in their conventional space planning, give consideration to parameters like auditory, olfactory, tactile and atmospheric factors such as the temperature and moisture, etc. This is because many of the visual means also provide non-visual sensorial effects, at specific position and under certain circumstances.

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A lay person improvising own spaces finds it very difficult to replicate the use of non-visual sensorial effects. A lay person considers non visual sensorial effects at best as the reinforcing elements to visual means.

For professional designers as well as lay persons, the judgements on these counts are often speculative because effective results derive from accumulation of several factors.

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  • For example, Visual and Auditory senses work in consonance, as both have a sense of scale and direction. In space planning one provides the clue about the other.

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  • The selection and placement of furniture, furnishings and enrichments can change the visual space perception, whereas the surface treatments of the same elements can change the audio response.
  • Tactile sense requires one to be in proximity of the surface, yet the textures, nature of construction (hollow, foamed, micro undulations), etc. prompt the auditory response from a distance, and so pre-empt the perception.

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  • Odours are perceived with air and its movements. Enclosed rooms filter the noise but reduce the chances of fresh air. This translates into ‘smelly or stagnant space’. A designer has to perceive a space planning layout with all these overlapping sensorial perceptions, and also notions people have about it.

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Other parameters such as the privacy, intimacy, well being, safety, security, seclusion and participation, are achieved through sensible space planning, but need space and time reinforcement through indicative means.

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The purposes of space elements, their placement, composition, shape or size, are not very apparent to a casual visitor. However, such effects become apparent on the required occasion and situation with non-visual reinforcements.

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