写真

Photographer's Note

The relationship of symmetry to aesthetics is complex. Certain simple symmetries, and in particular bilateral symmetry, seem to be deeply ingrained in the inherent perception by humans of the likely health or fitness of other living creatures, as can be seen by the simple experiment of distorting one side of the image of an attractive face and asking viewers to rate the attractiveness of the resulting image. Consequently, such symmetries that mimic biology tend to have an innate appeal that in turn drives a powerful tendency to create artifacts with similar symmetry. One only needs to imagine the difficulty in trying to market a highly asymmetrical car or truck to general automotive buyers to understand the power of biologically inspired symmetries such as bilateral symmetry.

Another more subtle appeal of symmetry is that of simplicity, which in turn has an implication of safety, security, and familiarity. A highly symmetrical room, for example, is unavoidably also a room in which anything out of place or potentially threatening can be identified easily and quickly. For example, people who have grown up in houses full of exact right angles and precisely identical artifacts can find their first experience in staying in a room with no exact right angles and no exactly identical artifacts to be highly disquieting. Symmetry thus can be a source of comfort not only as an indicator of biological health, but also of a safe and well-understood living environment.

Opposed to this is the tendency for excessive symmetry to be perceived as boring or uninteresting. Humans in particular have a powerful desire to exploit new opportunities or explore new possibilities, and an excessive degree of symmetry can convey a lack of such opportunities.

Yet another possibility is that when symmetries become too complex or too challenging, the human mind has a tendency to "tune them out" and perceive them in yet another fashion: as noise that conveys no useful information.

Finally, perceptions and appreciation of symmetries are also dependent on cultural background. The far greater use of complex geometric symmetries in many Islamic cultures, for example, makes it more likely that people from such cultures will appreciate such art forms (or, conversely, to rebel against them).

As in many human endeavors, the result of the confluence of many such factors is that effective use of symmetry in art and architecture is complex, intuitive, and highly dependent on the skills of the individuals who must weave and combine such factors within their own creative work. Along with texture, color, proportion, and other factors, symmetry is a powerful ingredient in any such synthesis; one only need to examine the Taj Mahal to powerful role that symmetry plays in determining the aesthetic appeal of an object.

Modernist architecture rejects symmetry, stating only a bad architect relies on symmetry; instead of symmetrical layout of blocks, masses and structures, Modernist architecture relies on wings and balance of masses. This notion of getting rid of symmetry was first encountered in International style. Some people find asymmetrical layouts of buildings and structures revolutionizing; other find them restless, boring and unnatural.

A few examples of the more explicit use of symmetries in art can be found in the remarkable art of M. C. Escher, the creative design of the mathematical concept of a wallpaper group, and the many applications (both mathematical and real world) of tiling...thanks wikipedia...

robertosalguero, besnard, Cretense, leonorkuhn has marked this note useful

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Additional Photos by Georgios Topas (TopGeo) Gold Star Critiquer/Gold Star Workshop Editor/Gold Note Writer [C: 4033 W: 93 N: 8299] (38220)
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