Why “#thedress” is the perfect perception tester.Posted: March 2, 2015 Filed under: Education, Opinion | Tags: advocacy, authenticity, Avant garde, collaboration, community, Dada, data visualisation, design, education, educational problem, ethics, feedback, higher education, in the student's head, Kazimir Malevich, learning, Marcel Duchamp, modern art, principles of design, readymades, reflection, resources, Russia, Stalin, student perspective, Suprematism, teaching, thedress, thinking 1 Comment
I know, you’re all over the dress. You’ve moved on to (checks Twitter) “#HouseOfCards”, Boris Nemtsov and the new Samsung gadgets. I wanted to touch on some of the things I mentioned in yesterday’s post and why that dress picture was so useful.
The first reason is that issues of conflict caused by different perception are not new. You only have to look at the furore surrounding the introduction of Impressionism, the scandal of the colour palette of the Fauvists, the outrage over Marcel Duchamp’s readymades and Dada in general, to see that art is an area that is constantly generating debate and argument over what is, and what is not, art. One of the biggest changes has been the move away from representative art to abstract art, mainly because we are no longer capable of making the simple objective comparison of “that painting looks like the thing that it’s a painting of.” (Let’s not even start on the ongoing linguistic violence over ending sentences with prepositions.)
Once we move art into the abstract, suddenly we are asking a question beyond “does it look like something?” and move into the realm of “does it remind us of something?”, “does it make us feel something?” and “does it make us think about the original object in a different way?” You don’t have to go all the way to using body fluids and live otters in performance pieces to start running into the refrains so often heard in art galleries: “I don’t get it”, “I could have done that”, “It’s all a con”, “It doesn’t look like anything” and “I don’t like it.”
This was a radical departure from art of the time, part of the Suprematism movement that flourished briefly before Stalin suppressed it, heavily and brutally. Art like this was considered subversive, dangerous and a real threat to the morality of the citizenry. Not bad for two simple shapes, is it? And, yet, many people will look at this and use of the above phrases. There is an enormous range of perception on this very simple (yet deeply complicated) piece of art.
The viewer is, of course, completely entitled to their subjective opinion on art but this is, for many cases, a perceptual issue caused by a lack of familiarity with the intentions, practices and goals of abstract art. When we were still painting pictures of houses and rich people, there were many pictures from the 16th to 18th century which contain really badly painted animals. It’s worth going to an historical art museum just to look at all the crap animals. Looking at early European artists trying to capture Australian fauna gives you the same experience – people weren’t painting what they were seeing, they were painting a reasonable approximation of the representation and putting that into the picture. Yet this was accepted and it was accepted because it was a commonly held perception. This also explains offensive (and totally unrealistic) caricatures along racial, gender or religious lines: you accept the stereotype as a reasonable portrayal because of shared perception. (And, no, I’m not putting pictures of that up.)
But, when we talk about art or food, it’s easy to get caught up in things like cultural capital, the assets we have that aren’t money but allow us to be more socially mobile. “Knowing” about art, wine or food has real weight in certain social situations, so the background here matters. Thus, to illustrate that two people can look at the same abstract piece and have one be enraptured while the other wants their money back is not a clean perceptual distinction, free of outside influence. We can’t say “human perception is very a personal business” based on this alone because there are too many arguments to be made about prior knowledge, art appreciation, socioeconomic factors and cultural capital.
But let’s look at another argument starter, the dreaded Monty Hall Problem, where there are three doors, a good prize behind one, and you have to pick a door to try and win a prize. If the host opens a door showing you where the prize isn’t, do you switch or not? (The correctly formulated problem is designed so that switching is the right thing to do but, again, so much argument.) This is, again, a perceptual issue because of how people think about probability and how much weight they invest in their decision making process, how they feel when discussing it and so on. I’ve seen people get into serious arguments about this and this doesn’t even scratch the surface of the incredible abuse Marilyn vos Savant suffered when she had the audacity to post the correct solution to the problem.
This is another great example of what happens when the human perceptual system, environmental factors and facts get jammed together but… it’s also not clean because you can start talking about previous mathematical experience, logical thinking approaches, textual analysis and so on. It’s easy to say that “ah, this isn’t just a human perceptual thing, it’s everything else.”
This is why I love that stupid dress picture. You don’t need to have any prior knowledge of art, cultural capital, mathematical background, history of game shows or whatever. All you need are eyes and relatively functional colour sense of colour. (The dress doesn’t even hit most of the colour blindness issues, interestingly.)
The dress is the clearest example we have that two people can look at the same thing and it’s perception issues that are inbuilt and beyond their control that cause them to have a difference of opinion. We finally have a universal example of how being human is not being sure of the world that we live in and one that we can reproduce anytime we want, without having to carry out any more preparation than “have you seen this dress?”
What we do with it is, as always, the important question now. For me, it’s a reminder to think about issues of perception before I explode with rage across the Internet. Some things will still just be dumb, cruel or evil – the dress won’t heal the world but it does give us a new filter to apply. But it’s simple and clean, and that’s why I think the dress is one of the best things to happen recently to help to bring us together in our discussions so that we can sort out important things and get them done.