Paper short abstract:

Can perspective be 'wrong'? Or is the supposed wrongness a matter of position, cultural heritage, or psychological state of mind? 'Wrong Perspectives' explores geometrical approaches to extend conventional perspective systems so that they are able to include rather than exclude. Co-authors: Dirk Huylebrouck and Ann Heylighen

Paper long abstract:

The 'wrong perspective' research is an attempt to fuse different fields by exploring and inventing alternative ways of depicting the world, by combining geometry, design and intuition. The research looks for extensions of vanishing point perspective, such as in pre-Renaissance Oriental art, in Eastern-European art, in Asian or African art (Huylebrouck, 2016), etc. These extensions provide methods to construct alternative kinds of perspective so that they can be put on a par with conventional ways of depiction. By mixing and matching several projective methods we look for ways to propose alternatives for conventional and even intuitive models for depiction. Our proposition does not question established nor conventional ways of depiction but, rather, looks for ways to extend them.

By using (descriptive) geometry as a methodology we want to explore alleged 'wrong perspectives' as equally valuable alternatives. We simultaneously reflect upon some of the (cultural) implications of both convention and extension. Perhaps one of the main questions is in what way translating, sharing and making different systems understandable could broaden our imaginary vocabulary - broaden our collective visual languages. A broader question is whether using geometry in this way could be a means to put different visual languages on an equal footing (similar to spoken languages) and from there to what extent it could be used to construct bridges between different (visual) cultures. Another tempting question is to what extent this approach could be used to provide so-called non-initiated artists a more personal way to envision the world.