SPACETIME ANALYSIS 1

A few pages ago, we introduced The Four Spacetimes as a way of understanding how Transparent Drawing fits into the history of Western Culture.  So let’s apply The Four Spacetimes to the drawing above and see what we get.

Representationally, it has, more or less, an idea regarding the vanishing point;  it is somewhere back in the middle of the picture.   So there is a bit of representationality to it.  And because it has silhouettes, there is an Egyptian component.   I don’t really think that the Byzantine component is that strong.  And this really has no Cubist tendencies.  So plotting these attributes on the Spacetime Coordinates Grid would look something like this.

I will need to apply this analysis to a series of drawings to get a fuller idea about the advantages of using the Spacetime Coordinates.  Yet this is a start at providing an objective and quantifiable understanding of a drawing.  I don’t know how many drawing quantification systems are out there, but my hunch is that there are not very many.

This confirms that since we are not drawing representationally, we still are drawing within some cultural drawing system that is tied into our culture.  Within the definitions of other drawing cultures, we can see that we are pulling influences from various sources.

Hopefully this demonstrates that our transparent drawings, while outside of representation, are still within defined cultural boundaries.