Perception as Interface

Perception as Interface describes practices that activate through viewing conditions rather than fixed form. Movement, distance, duration, and light alter what is perceived, making vision an active instrument rather than a passive receiver. Structure unfolds through attention over time rather than presenting itself all at once.

Atlas Instances

Perception as Interface

In Christina Kubisch’s work, this approach appears where inaudible signals are translated into perceptual experience through duration.

Perception as Interface

In Michael Scott’s work, disciplined repetition produces difference through optical instability held within serial control.

Perception as Interface

In Mary Corse’s work, this approach appears where light and movement activate perception.

Perception as Interface

In Bridget Riley’s work, this approach appears where repetition activates optical difference, making vision itself the site of structure.

Perception as Interface

In Ann Veronica Janssens’s work, difference emerges through sensory fluctuation.

Perception as Interface

In Olafur Eliasson’s work, this approach appears where environmental conditions activate perception.

Perception as Interface

In Sigmar Polke’s work, this approach appears where vision destabilizes certainty.

Perception as Interface

In Anthony McCall’s work, this approach appears where light and duration activate viewing itself as the work.

Perception as Interface

In Haroon Mirza’s work, this approach appears where sound and light activate perception through duration.

Perception as Interface

In Gerhard Richter’s work, this approach appears where image oscillates between clarity and dissolution through procedure.

Perception as Interface

In Atsuko Tanaka’s work, this approach appears where signal, circuitry, and repetition activate perception through systemic pulse rather than representation.

Perception as Interface

In Helen Pashgian’s work, this approach appears where subtle optical fields respond to movement and light.