A Mapping Sentence Account of Non-traditional Three-Dimensional Art
In chapter three I present an augmentation to existing models of visual perception that have been developed to account for the perception and understanding of the experience of three-dimensional fine art. The chapter begins with a reflection upon how the model I propose draws upon the scholarship of Crowther (2007) in conjunction a modification of the mapping sentence approach used as a qualitative or philosophical research approach (Hackett 2014, 2016a, b). I delve into mapping sentences and I use these organizational templates to elucidate the writing of Rosalind Krauss by modelling how she has considered two-dimensional (Krauss 1986) and three-dimensional (Krauss 1979) modern abstract art. In facet theory research mapping sentences are frequently used either alone or in initial stages of research into a content domain using smallest space analysis (SSA) and to guide interpretation of later partial order scalogram analysis (POSA). In earlier publications I have put forward the mapping sentence as a structural template for understanding two-dimensional art (Hackett 2016b) and in this chapter I offer a modified version of this mapping sentence to account for the experience of three-dimensional abstract art.
KeywordsVisual perception Facet theory Mapping sentence Paul Crowther Abstract art Art experience Art SSA POSA
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