28 Critical Reflections: random 8 to 14

I like the contrast of foreground horizontal form with background vertical one, also between them the rhododendrons and lake with reflections.[5]

Specular reflection could be called a sort of congruence, insofar as congruences are a type of equality, thus establishing a bi-univocal relation founded on the properties of being reflexive, symmetrical and transitive. In this sense specular reflection is equality and not similitude.[3]

The inside of River Form is not reminiscent of something formed by the flow of water. There are angles and worked surfaces that suggest deliberate, mindful workings; there are circles [4]

Shiny, and streamlined. With fairings, you know? And fins. All around them, people flying on their own, individually, with some kind of back-pack... jet, I think. No noise. Even the birds weren't disturbed, darting and swooping amid the human flocks.[2]

The specular highlight often reflects the color of the light source, not the color of the reflecting object. This is because many materials have a thin layer of clear material above the surface of the pigmented material. For example plastic is made up of tiny beads of color suspended in a clear polymer and human skin often has a thin layer of oil or sweat above the pigmented cells. Such materials will show specular highlights in which all parts of the color spectrum are reflected equally. On metallic materials such as gold the color of the specular highlight will reflect the color of the material.[6]

Even admitting that what happens in a camera obscura is something 'similar' to the phenomenon of the specular reflection (which is not questionable), what changes is the fact that an image remains traced somewhere, and any successive discussion about its iconic properties deals with the imprinted image and not with the process itself.[3]

I get alien, extra terrestrial, other- or even non-worldly: something this world could not 'naturally' produce: spacecraft, alien, non-human edifice. And yet I can take the alien view, I can see out the portholes, glimpse the alien view from the exposed innards. Paradoxically, the alien structures, Hepworth's sculptures in her garden, sit wonderfully, Barthesian blissfully well in our 'natural' world. They accentuate what 'just happens to be' as if it were special: which it, of course, is.[4]

28 Critical Reflections random 15 to 21
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[1] http://www.neworleanspast.com/art/id62.html

[2] Ken MacLeod, Reflective Surfaces, New Scientist, 2009.

[3] Umberto Eco, A Theory of Semiotics, Indiana University Press, 1979.

[4] Clive Fencott, Reflections on seeing River Form in Barbra Hepworth's garden in St. Ives.

[5] http://www.flickr.com/photos/nigelhomer/316548379/

[6] http://en.wikipedia.org/wiki/Specular_highlight

[7] http://www.barbarahepworth.org.uk/texts/

[8] tripadvisor.co.uk