perspective
American Heritage Dictionary:
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per·spec·tive
(pər-spĕk'tĭv) 
n.
Of, relating to, seen, or represented in perspective.
perspectively per·spec'tive·ly adv.
n.
- A view or vista.
- A mental view or outlook: "It is useful occasionally to look at the past to gain a perspective on the present" (Fabian Linden).
- The appearance of objects in depth as perceived by normal binocular vision.
- The relationship of aspects of a subject to each other and to a whole: a perspective of history; a need to view the problem in the proper perspective.
- Subjective evaluation of relative significance; a point of view: the perspective of the displaced homemaker.
- The ability to perceive things in their actual interrelations or comparative importance: tried to keep my perspective throughout the crisis.
- The technique of representing three-dimensional objects and depth relationships on a two-dimensional surface.
Of, relating to, seen, or represented in perspective.
[Middle English, science of optics (influenced by French perspective, perspective), from Medieval Latin perspectīva (ars), feminine of perspectīvus, optical, from perspectus, past participle of perspicere, to inspect : per-, per- + specere, to look.]
perspectival per·spec'tiv·al adj.perspectively per·spec'tive·ly adv.
Fowler's Modern English Usage:
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perspective
In its 17th century meaning 'mental point of view or way of regarding something', perspective has developed a special use with on followed by the name of a subject or intellectual domain: Perspectives on Thomas Hobbes (book title, 1989).
| personnel, personally, personage, personality | |
| perspicacious, perspicuous, persuasion, peruse |
Britannica Concise Encyclopedia:
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perspective
Depiction of three-dimensional objects and spatial relationships on a two-dimensional plane. In Western art, illusions of volume and space are generally created by use of the linear perspective system, based on the observation that objects appear to shrink and parallel lines to converge at an infinitely distant vanishing point as they recede in space from the viewer. The vanishing point may have been known to the Greeks and Romans but had been lost until Filippo Brunelleschi rediscovered the principles of linear or mathematical perspective early in the 15th century. Linear perspective dominated Western painting until the late 19th century, when Paul Czanne flattened the conventional picture plane. The Cubists and other 20th-century painters abandoned depiction of three-dimensional space altogether. aerial perspective.
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Barron's Marketing Dictionary:
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perspective
1. Technique of visually suggesting a feeling of depth in a flat presentation, by using points or lines that vanish in relationship to pictured objects as the objects recede. Producers frequently use perspective to create illusions and special effects on stage sets. Color can also be used, along with linear graphic design, to create perspective in print advertisements.
2. Effect of space created by audio-matching the distance of a sound source. To achieve the desired perspective, audio technicians place sound sources and microphones at different distances.
Roget's Thesaurus:
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perspective
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1. The technique of representing solid objects upon a flat surface.
2. A picture or drawing employing this technique.
Oxford Companion to the Photograph:
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perspective
Perspective, a sense of depth in a flat image, may be conveyed in at least four ways: aerial perspective, perspective of receding planes, perspective of scale, and linear or ‘vanishing point’ perspective.
Aerial perspective is conveyed by loss of contrast and detail in more distant subjects, and by increasing blueness. It is generally least in the morning of a clear, bright, cold day: the greater the departure from these criteria, the more apparent aerial perspective will be. In black-and-white photography it can be greatly reduced by using yellow, orange, red, and even infrared filtration (in increasing order of effect), or slightly increased by using blue filtration or films with reduced red sensitivity.
The perspective of receding planes is most clearly seen in Japanese and Chinese brush paintings of mountains: even with no other indicator of scale, if one thing is in front of another it creates an impression of depth.
Perspective of scale or size is clear when, for example, there are two human figures in a picture, one of which is twice the size of the other. Experience argues that in reality both are of similar height, so one must be further away.
‘Vanishing point’ perspective is, in a sense, merely a variation of perspective of scale, but the extent to which it is a convention is well demonstrated by a photograph of a street of tall buildings, from ground level. The ‘vanishing point’ is cheerfully accepted in the apparent narrowing of the street as it stretches into the distance, but if the camera is tilted upwards, the buildings look as if they are falling over backwards, even though exactly the same perspective considerations apply; hence the popularity of rising fronts on view cameras, and of shift lenses.
Tolerance of what used to be called ‘violent’ perspective seems to have increased with ever-greater use of wide angles. In the 1950s, the perspective effects associated with 21 mm lenses (on 35 mm) were regarded as so extreme that the lenses were seen as of limited usefulness. Today, most people hardly notice.
— Roger W. Hicks
Bibliography
- Kingslake, R., Optics in Photography (1992)
Columbia Encyclopedia:
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perspective
perspective, in art, any method employed to represent three-dimensional space on a flat surface or in relief sculpture. Although many periods in art showed some progressive diminution of objects seen in depth, linear perspective, in the modern sense, was probably first formulated in 15th-century Florence by the architects Brunelleschi and Alberti. Brunelleschi designed (c.1420) two panels depicting architectural views of Florence, in which he constructed a mathematically proportioned system of perspective. Alberti, in his De pittura (1435), harnessed the technique of perspective to the theory that painting is an imitation of reality. He viewed the picture plane as a window through which one looks at the visible world. Objects in the picture were to be systematically foreshortened as they receded into the distance. Orthogonal lines converged to a single vanishing point, which was to correspond to the fixed viewpoint of the spectator. Reflecting the growth of humanism, the spectator played a new role in art, as man was to determine the measurement of all things. The Italian artists who experimented with perspective, including Donatello, Masaccio, Uccello, and Piero della Francesca, sometimes diverged from the rules for a greater artistic effect. In general, however, the 15th-century Italian artists tended to work within a geometrical system, whereas the contemporary Flemish painters used more empirical means to achieve a convincing delineation of space. The technique of linear perspective had an immense influence on the development of Western art. In the 20th cent., however, its use has considerably declined, since many artists have rebelled against the conception of art as a mirror image of reality. Aerial or atmospheric perspective was developed primarily by Leonardo da Vinci. In general, it is based on the perception that contrasts of color and of light and dark appear greater, and contours more defined, in near objects than in far. Aerial perspective takes note of the recessive character of cool colors and the prominence of warm colors. In East Asian art, perspective effects were achieved by the atmospheric method, often incorporating zones of mist to separate near and far space.
Bibliography
See R. V. Cole, Perspective for Artists (1976); J. Cody, Atlas of Foreshortening (1984); M. Kubovy, The Psychology of Perspective and Renaissance Art (1988).
Dictionary of Cultural Literacy: Fine Arts:
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perspective
In drawing or painting, a way of portraying three dimensions on a flat, two-dimensional surface by suggesting depth or distance.
Oxford Companion to the Mind:
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perspective
Our perception of space is dominated by perspective, in the sense of a reduction of the projected size of objects with distance. One of the key jobs of the visual brain is to decode this size diminution as distance in the third dimension, or egocentric distance. If the eye were a pinhole camera, the projection of the world onto the back plane would be in perfect linear perspective (and in perfect focus). The succession of images projects on the curved retina within the eye in what Leonardo da Vinci termed natural perspective, a series of distorted projections that need to be integrated over time in a representation in the brain as the eye moves around the scene. How the brain decodes the information in natural perspective into an accurate appreciation of the spatial layout has yet to be resolved.
Incorporating lens optics into the projection system introduces the potential for curvature in the projected image. Such internal curvature may consequently be a property of human perception at the extremes of the field, but this curvature would apply equally to the original scene and to its projection from the picture plane to the eye, so does not affect the external projection rules of geometric perspective. The key simplification in perspective construction is that the pictorial image is governed by linear projection through the point where the pupil is located, regardless of any optical distortions beyond that point.
Historically, space representation through perspective has engendered great conceptual effort. Perspective scene painting was a springboard of mathematical geometry even at the time of Plato and remained influential through the Hellenistic era, but did not re-emerge as an artistic technique until the 1300s. However, full mastery of analytic perspective took another six centuries to evolve. Accurate one-point perspective dominated the 1400s, being first used by Masolino da Panicale and his pupil Masaccio. Two-point perspective was initially described by Viator in 1505, although the two-point construction remained unknown throughout the Renaissance until 1650, becoming widely used in the 1700 and 1800s. Three-point and multi-point construction diagrams for mathematical treatises were attempted unsuccessfully by Piero della Francesca and Leonardo da Vinci in the late 1400s, but none appeared in art works until an isolated example by Tiepolo in 1744. The three-point construction seems to have been first introduced into 20th-century art by Georgia O'Keeffe in her New York Series in the mid-1920s. Far from springing into force during the early Renaissance, therefore, a full understanding of linear perspective was not achieved for 600 years. Interestingly, most of the conceptual advances in perspective construction were made by artists rather than geometers.
Linear perspective is the geometry of projection of the lines in a scene through a picture plane to a point in space (or centre of projection) corresponding to the pupil of the viewing eye (Fig. 1). The picture plane would be the canvas on which the painter wishes to depict the scene. For correct perspective, the picture will generate the same arrangement of light rays at the eye as did the scene behind it. When viewed from this point in space, therefore, the picture will form exactly the same image on the retina as did the original scene. The different forms of perspective construction concern the rules that apply to specific structures, but all are subcases of the same optical transform.
Principles of perspective
1. In geometric perspective, all straight lines in space project to straight lines (or points, if end on) in the picture plane. Rotating the line within the plane of projection will not introduce any curvature, just a change in its extent within the line of projection. In the limit when the line is viewed head on, the projected line will contract to a point in the picture plane.
Humans actually view scenes with two eyes, but the straight-line projections for each eye are both straight lines (Fig. 2a left and right). The average, or binocularly fused, projection is the combination of two straight lines and is therefore also a straight line (see Fig. 2b). No curvature is introduced by the geometry of binocular combination.
2. The projections of all lines that are parallel in space either remain parallel in the picture plane or intersect at a single vanishing point (see Fig. 1). Although the lines run to infinity in space, their projection to a picture plane has a vanishing point at a specific location. Each different set of parallel lines intersects at a different vanishing point. Thus, the first job in perspective projection is to identify all the lines in the scene that are parallel to each other, then make sure that they are drawn so as to project to a common vanishing point.
In the particular case of central perspective, all the lines on the scene are either parallel with the line of sight or at right angles to it, parallel with the picture plane (Fig. 3). There is thus only one vanishing point, which is directly in front of the viewer's eye for any viewing position (a requirement widely violated by Renaissance painters). When the eye is at this centre of projection, the perspective geometry in the picture plane is independent of the direction in which the eye is looking.
Central perspective is illustrated by the earliest exponent of accurate perspective, Masolino da Panicale, in his Herod's Feast (Fig. 4). The primary set of parallels is those horizontal and receding from a viewer toward the central vanishing point. The other sets of parallels consist of any lines at right angles to the first set, at any angle within the picture plane. These parallels, such as the verticals of the sides of buildings, will all remain parallel within the picture plane.
A particular case of the lack of distortion in central projection is the case of circles, and circular arches (such as those at right in Fig. 4). When they are facing us, i.e. parallel to the picture plane, circles and parts of circles remain circular in the projection to the picture. The projection to the retina distorts them to ellipses, but they should be shown as circular in the picture.
3. The viewer's angle to any pair of vanishing points is the same as the angle between the generating parallels in space. In particular, the vanishing points for any 90-degree angle in space form a 90-degree angle at the viewer's eye (Fig. 5). However the angle is rotated in space (even to complete foreshortening), the vanishing points will none the less hold to a 90-degree angle at the viewer's eye. The physical distance between the vanishing points depends on the intended viewing distance, but a good rule of thumb is at least twice the width of the picture. Leonardo da Vinci recommended 10–20 times the height of the largest objects depicted.
4. All sets of parallel lines lying within a particular plane in space have vanishing points that fall on the horizon line defined by that plane. In Fig. 5, three sets of converging parallels are shown converging on the same horizon. The fourth set, the transversals, may be said to converge at the horizon at infinity to the left and right.
5. Although perspective distorts rectangles to asymmetrical trapezoids in general, the properties of circles are such that they always project to an ellipse of some orientation, with the centre of the resulting ellipse generally displaced forward from the centre of the projected circle (Fig. 6). Geometrically, ellipses may be drawn by attaching a string to the foci and drawing a perimeter by keeping the string fully stretched. However, there is no known geometric method for placing the foci for a required ellipse in the perspective construction.
6. Spheres in space also project to ellipses in the picture plane, although generally with much less distortion than for circles (Fig. 7). Spheres always project to circles when at the centre of projection. The elongation arises only because of marginal distortion, the stretching of the image as the picture plane itself recedes from the viewer at increasing angles of view.
In conclusion, perspective proves to be a rich paradigm for revealing the interplay of the mind with the space that it inhabits. Its problems posed in Greek antiquity have challenged the human intellect into the 21st century. Some issues, indeed, still resist a geometric solution. Moreover, virtually nothing is known about the representation of perspective in the brain itself. It will be fascinating to follow the investigation of the neural processing structure and dynamics of this profound modality of space representation by present and future brain-imaging techniques.
Fig. 1. Projection of parallel lines in space. Three parallel lines in the scene at left are projected through a rectangular picture plane to the point where the observer's eye is located. The light rays projecting to the eye are shown by dashed lines. The three parallel lines project as straight lines in the picture, but not as parallel because their orientation is not parallel to the picture plane. The point in the picture where the projected lines converge is termed the vanishing point (VP).
Fig. 2. Binocular perspective. a. The different left (l) and right (r) eye views of the three parallel lines projecting onto the picture plane. The two straight lines from each eye are combined in the brain by binocular fusion into the straight lines of fused image, b. whatever their geometric relationships.
Fig. 3. a. A painter at his canvas painting a scene of a rectangular grid with ziggurat. Dashed lines in the grid are parallel to the canvas (transversals), solid lines are perpendicular to it. b. Depiction of the scene as projecting to the plane of the canvas, with the perpendicular lines converging at the central vanishing point, while the transversals remain parallel to it.
Fig. 4. Early example of central perspective. Herod's Feast by Masolino (1435), where many receding horizontal lines project to a single central vanishing point. This is one-point perspective because the horizontal (black) and vertical (white) sets of parallel lines project as parallel in the picture.
Fig. 5. Viewing geometry for perspective constructions. The viewer's angle to the vanishing points is 90 degrees, matching the angle between the edges of the cube that generated the vanishing points.
Fig. 6. Perspective projection of a circle to an ellipse. a. The circle inscribed on the face of a cube. b. The simple ellipse, with its centre marked. c. The projection when the cube is on the visual axis forms an ellipse whose centre (and vertical axis) is displaced from that of the projected circle. d. For a circle above the visual axis, the major axis of the ellipse is rotated from the vertical, making its construction a challenging geometric problem with no known geometric solution.
Fig. 7. Projection of spheres. Spherical objects always form a circular cone projecting to the eye whatever the angle of view. Unless this cone is perpendicular to the picture plane, the sphere will project as an ellipse in the picture plane.
(Published 2004)
Incorporating lens optics into the projection system introduces the potential for curvature in the projected image. Such internal curvature may consequently be a property of human perception at the extremes of the field, but this curvature would apply equally to the original scene and to its projection from the picture plane to the eye, so does not affect the external projection rules of geometric perspective. The key simplification in perspective construction is that the pictorial image is governed by linear projection through the point where the pupil is located, regardless of any optical distortions beyond that point.
Historically, space representation through perspective has engendered great conceptual effort. Perspective scene painting was a springboard of mathematical geometry even at the time of Plato and remained influential through the Hellenistic era, but did not re-emerge as an artistic technique until the 1300s. However, full mastery of analytic perspective took another six centuries to evolve. Accurate one-point perspective dominated the 1400s, being first used by Masolino da Panicale and his pupil Masaccio. Two-point perspective was initially described by Viator in 1505, although the two-point construction remained unknown throughout the Renaissance until 1650, becoming widely used in the 1700 and 1800s. Three-point and multi-point construction diagrams for mathematical treatises were attempted unsuccessfully by Piero della Francesca and Leonardo da Vinci in the late 1400s, but none appeared in art works until an isolated example by Tiepolo in 1744. The three-point construction seems to have been first introduced into 20th-century art by Georgia O'Keeffe in her New York Series in the mid-1920s. Far from springing into force during the early Renaissance, therefore, a full understanding of linear perspective was not achieved for 600 years. Interestingly, most of the conceptual advances in perspective construction were made by artists rather than geometers.
Linear perspective is the geometry of projection of the lines in a scene through a picture plane to a point in space (or centre of projection) corresponding to the pupil of the viewing eye (Fig. 1). The picture plane would be the canvas on which the painter wishes to depict the scene. For correct perspective, the picture will generate the same arrangement of light rays at the eye as did the scene behind it. When viewed from this point in space, therefore, the picture will form exactly the same image on the retina as did the original scene. The different forms of perspective construction concern the rules that apply to specific structures, but all are subcases of the same optical transform.
Principles of perspective
1. In geometric perspective, all straight lines in space project to straight lines (or points, if end on) in the picture plane. Rotating the line within the plane of projection will not introduce any curvature, just a change in its extent within the line of projection. In the limit when the line is viewed head on, the projected line will contract to a point in the picture plane.
Humans actually view scenes with two eyes, but the straight-line projections for each eye are both straight lines (Fig. 2a left and right). The average, or binocularly fused, projection is the combination of two straight lines and is therefore also a straight line (see Fig. 2b). No curvature is introduced by the geometry of binocular combination.
2. The projections of all lines that are parallel in space either remain parallel in the picture plane or intersect at a single vanishing point (see Fig. 1). Although the lines run to infinity in space, their projection to a picture plane has a vanishing point at a specific location. Each different set of parallel lines intersects at a different vanishing point. Thus, the first job in perspective projection is to identify all the lines in the scene that are parallel to each other, then make sure that they are drawn so as to project to a common vanishing point.
In the particular case of central perspective, all the lines on the scene are either parallel with the line of sight or at right angles to it, parallel with the picture plane (Fig. 3). There is thus only one vanishing point, which is directly in front of the viewer's eye for any viewing position (a requirement widely violated by Renaissance painters). When the eye is at this centre of projection, the perspective geometry in the picture plane is independent of the direction in which the eye is looking.
Central perspective is illustrated by the earliest exponent of accurate perspective, Masolino da Panicale, in his Herod's Feast (Fig. 4). The primary set of parallels is those horizontal and receding from a viewer toward the central vanishing point. The other sets of parallels consist of any lines at right angles to the first set, at any angle within the picture plane. These parallels, such as the verticals of the sides of buildings, will all remain parallel within the picture plane.
A particular case of the lack of distortion in central projection is the case of circles, and circular arches (such as those at right in Fig. 4). When they are facing us, i.e. parallel to the picture plane, circles and parts of circles remain circular in the projection to the picture. The projection to the retina distorts them to ellipses, but they should be shown as circular in the picture.
3. The viewer's angle to any pair of vanishing points is the same as the angle between the generating parallels in space. In particular, the vanishing points for any 90-degree angle in space form a 90-degree angle at the viewer's eye (Fig. 5). However the angle is rotated in space (even to complete foreshortening), the vanishing points will none the less hold to a 90-degree angle at the viewer's eye. The physical distance between the vanishing points depends on the intended viewing distance, but a good rule of thumb is at least twice the width of the picture. Leonardo da Vinci recommended 10–20 times the height of the largest objects depicted.
4. All sets of parallel lines lying within a particular plane in space have vanishing points that fall on the horizon line defined by that plane. In Fig. 5, three sets of converging parallels are shown converging on the same horizon. The fourth set, the transversals, may be said to converge at the horizon at infinity to the left and right.
5. Although perspective distorts rectangles to asymmetrical trapezoids in general, the properties of circles are such that they always project to an ellipse of some orientation, with the centre of the resulting ellipse generally displaced forward from the centre of the projected circle (Fig. 6). Geometrically, ellipses may be drawn by attaching a string to the foci and drawing a perimeter by keeping the string fully stretched. However, there is no known geometric method for placing the foci for a required ellipse in the perspective construction.
6. Spheres in space also project to ellipses in the picture plane, although generally with much less distortion than for circles (Fig. 7). Spheres always project to circles when at the centre of projection. The elongation arises only because of marginal distortion, the stretching of the image as the picture plane itself recedes from the viewer at increasing angles of view.
In conclusion, perspective proves to be a rich paradigm for revealing the interplay of the mind with the space that it inhabits. Its problems posed in Greek antiquity have challenged the human intellect into the 21st century. Some issues, indeed, still resist a geometric solution. Moreover, virtually nothing is known about the representation of perspective in the brain itself. It will be fascinating to follow the investigation of the neural processing structure and dynamics of this profound modality of space representation by present and future brain-imaging techniques.
Fig. 1. Projection of parallel lines in space. Three parallel lines in the scene at left are projected through a rectangular picture plane to the point where the observer's eye is located. The light rays projecting to the eye are shown by dashed lines. The three parallel lines project as straight lines in the picture, but not as parallel because their orientation is not parallel to the picture plane. The point in the picture where the projected lines converge is termed the vanishing point (VP).
Fig. 2. Binocular perspective. a. The different left (l) and right (r) eye views of the three parallel lines projecting onto the picture plane. The two straight lines from each eye are combined in the brain by binocular fusion into the straight lines of fused image, b. whatever their geometric relationships.
Fig. 3. a. A painter at his canvas painting a scene of a rectangular grid with ziggurat. Dashed lines in the grid are parallel to the canvas (transversals), solid lines are perpendicular to it. b. Depiction of the scene as projecting to the plane of the canvas, with the perpendicular lines converging at the central vanishing point, while the transversals remain parallel to it.
Fig. 4. Early example of central perspective. Herod's Feast by Masolino (1435), where many receding horizontal lines project to a single central vanishing point. This is one-point perspective because the horizontal (black) and vertical (white) sets of parallel lines project as parallel in the picture.
Fig. 5. Viewing geometry for perspective constructions. The viewer's angle to the vanishing points is 90 degrees, matching the angle between the edges of the cube that generated the vanishing points.
Fig. 6. Perspective projection of a circle to an ellipse. a. The circle inscribed on the face of a cube. b. The simple ellipse, with its centre marked. c. The projection when the cube is on the visual axis forms an ellipse whose centre (and vertical axis) is displaced from that of the projected circle. d. For a circle above the visual axis, the major axis of the ellipse is rotated from the vertical, making its construction a challenging geometric problem with no known geometric solution.
Fig. 7. Projection of spheres. Spherical objects always form a circular cone projecting to the eye whatever the angle of view. Unless this cone is perpendicular to the picture plane, the sphere will project as an ellipse in the picture plane.
(Published 2004)
— Chris Tyler
.Word Tutor:
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perspective
IN BRIEF: The relative importance of facts or matters from any special point of view. Also: The way things look from a given point according to their size, shape, or distance.
Writing has laws of perspective, of light and shade just as painting does, or music. If you are born knowing them, fine. If not, learn them. Then rearrange the rules to suit yourself.
— Truman Capote (1924-1984)
LearnThatWord.com is a free vocabulary and spelling program where you only pay for results!
Sign Language Videos:
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perspective
sign description: The V-hand begins at the side of the temple and moves towards the opposite V-hand.
Quotes About:
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Perspective
Quotes:
"Bias and impartiality is in the eye of the beholder."
- Lord Barnett
"I see every thing I paint in this world, but everybody does not see alike. To the eyes of a miser a guinea is more beautiful than the sun, and a bag worn with the use of money has more beautiful proportions than a vine filled with grapes."
- William Blake
"When you're in the muck you can only see muck. If you somehow manage to float above it, you still see the muck but you see it from a different perspective. And you see other things too. That's the consolation of philosophy."
- David Cronenberg
"Perspective, as its inventor remarked, is a beautiful thing. What horrors of damp huts, where human beings languish, may not become picturesque through aerial distance! What hymning of cancerous vices may we not languish over as sublimest art in the safe remoteness of a strange language and artificial phrase! Yet we keep a repugnance to rheumatism and other painful effects when presented in our personal experience."
- George Eliot
"The seeing of objects involves many sources of information beyond those meeting the eye when we look at an object. It generally involves knowledge of the object derived from previous experience, and this experience is not limited to vision but may include the other senses: touch, taste, smell, hearing, and perhaps also temperature or pain."
- R. L. Gregory
"Nobody, I think, ought to read poetry, or look at pictures or statues, who cannot find a great deal more in them than the poet or artist has actually expressed. Their highest merit is suggestiveness."
- Nathaniel Hawthorne
See more famous quotes about Perspective
Random House Word Menu:
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categories related to 'perspective'
- Painting Tools and Techniques - perspective: system of realistically depicting three-dimensional objects or views onto two-dimensional, flat surfaces through convergent lines and planes; portrayal of objects in space
- Building Construction and Design - perspective: drawing of building to give same appearance as in three-dimensional space
- Enlightenment, Truth, and the Unknowable - perspective: capacity to view things in their true relationships
Bradford's Crossword Solver's Dictionary:
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perspective
See crossword solutions for the clue Perspective.
Wikipedia on Answers.com:
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Perspective
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Look up perspective in Wiktionary, the free dictionary. |
Perspective may refer to:
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Literally, in visual topics
- Perspective (visual), the way in which objects appear to the eye.
- Perspective (graphical), representing the effects of visual perspective in graphic arts
Metaphorically, in relation to cognitive topics
- Perspective (cognitive), one's "point of view", the choice of a context for opinions, beliefs and experiences
- Perspective (pharmacoeconomic), the vantage point from which a pharmacoeconomics analysis is conducted
- Point of view (literature), the related experience of the narrator
- Perspective (psychological), or wisdom
Mathematics
- Perspective (geometry), a property of triangles
Entertainment
- Perspective (Jason Becker album), released by Jason Becker in 1996
- Perspective (America album), 1984 studio album by American folk rock duo America
- Perspectives (album), the 2010 debut album by Australian band House Vs. Hurricane
- "Perspectives", a song by Kutless from Sea of Faces
- Perspectives, an ITV1 documentary strand
- Perspective Records, a record label
- Perspectives on Anarchist Theory, a magazine
- Perspectives with Lionel Osbourne, a recurring Saturday Night Live sketch featuring Tim Meadows.
See also
- All pages beginning with "Perspective"
- All pages with titles containing "Perspective"
- Perspecta
- Perspectivism
- Point of view (disambiguation)
 |
This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article. |
This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)
Translations:
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Perspective
Dansk (Danish)
n. - perspektiv
adj. - perspektivisk
Nederlands (Dutch)
perspectief (kunst), zienswijze, vooruitzicht, uitzicht, vergezicht, kijkglas, perspectivisch
Français (French)
n. - (gén, Art) perspective, point de vue, (fig) proportion, mesure, angle
adj. - en perspective
Deutsch (German)
n. - Aussicht, Perspektive, Blickwinkel
adj. - perspektivisch
Ελληνική (Greek)
n. - προοπτική (απεικόνιση), (οπτική) διάσταση, όψη, άποψη, μακρινή θέα
adj. - προοπτικός
Italiano (Italian)
prospettiva, angolo, punto di vista, aspettativa, vista d'insieme, prospettico
Português (Portuguese)
n. - perspectiva (f), futuro (m), panorama (f)
adj. - perspectivo, panorâmico
Русский (Russian)
перспектива, точка зрения, перспективный
Español (Spanish)
n. - perspectiva, punto de vista, vista
adj. - en perspectiva, de perspectiva
Svenska (Swedish)
n. - perspektiv, syn, utsikt
adj. - perspektivisk, perspektiv-
中文（简体）(Chinese (Simplified))
远景, 透视, 看法, 透视的
中文（繁體）(Chinese (Traditional))
n. - 遠景, 透視, 看法
adj. - 透視的
한국어 (Korean)
n. - 원근법, 균형 있게 보기, 원경
adj. - 원근화법의, 원근법에 의한
日本語 (Japanese)
n. - 遠近画法, 全体をとらえた見方, 見通し, 遠近法
adj. - 遠近法の
العربيه (Arabic)
(الاسم) رسم منظوري, منظور, وجهه نظر, أبعاد, منظر (صفه) منظوري, مناظري, أبعادي
עברית (Hebrew)
n. - נקודת-מבט, סיכוי, מבט, מראה, תשקופת, שקף
adj. - מנקודת-מבט (מסוימת)
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