{"id":{"repo_id":"vt","oai_identifier":"oai:vtechworks.lib.vt.edu:10919/110914"},"canonical_url":"https://search.dev.ndltd.org/etd/vt/oai:vtechworks.lib.vt.edu:10919/110914","repository":{"repo_id":"vt","name":"Virginia Tech","base_url":"https://vtechworks.lib.vt.edu/oai/request"},"display":{"title":"Liminal Perspective: Still-Life and Interactive 3D Animation","abstract":"Liminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.","abstract_html":"Liminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. 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The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution."]},{"key":"dc:description.abstractgeneral","label":"General Abstract","values":["Liminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. 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The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution."],"dc:description.abstractgeneral":["Liminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution."],"dc:description.degree":["Master of Fine Arts"],"dc:format.medium":["ETD"],"dc:identifier.other":["vt_gsexam:34987"],"dc:identifier.uri":["http://hdl.handle.net/10919/110914"],"dc:language.iso":["en"],"dc:publisher":["Virginia Tech"],"dc:rights":["In Copyright"],"dc:rights.uri":["http://rightsstatements.org/vocab/InC/1.0/"],"dc:subject":["art","technology","still-life","3D animation","computer vision","physical computing","perception","painting","perspective"],"dc:title":["Liminal Perspective: Still-Life and Interactive 3D Animation"],"dc:type":["Thesis"],"thesis:degree_discipline":["Creative Technologies"],"thesis:degree_level":["masters"],"thesis:degree_name":["Master of Fine Arts"],"thesis:institution_name":["Virginia Polytechnic Institute and State University"]},"updated_at":"2026-07-22T22:19:54Z"}