the mind. Everything that this staircase suggests defies reality, and goes against all that is known in the third dimension. The same is true for the impossible triangle (appendix 2), developed by Roger Penrose, son of Lionel. It is in a shape that makes it physically impossible to create in the three dimensional world. The beams of the triangle simultaneously appear to recede and come toward you. Yet, somehow, they meet in an impossible configuration! It is difficult to conceive how the various parts can fit together as a real three-dimensional object, and yet it exists in the art of humanity. Some would say that these works of art are explainable through dimensional theory and extensive analysis, but this still does not deny how upsetting the concepts these pictures present. The mere fact that you require such an explanation to understand these models only supports Braques position on art, and shows a problem surrounding the ways of knowing when it comes to the area of the arts. The explanation of arts is what we see as most reassuring, even if it takes a method that is not traditionally associated with the arts. Science is not usually in the forefront of ones mind when viewing a work of art, yet there is explanation for some of arts implications through science, and refutation of some of the implications of art, on reality. With the example of the impossible triangle, one could understand the reason behind why we interpret it as impossible, or what the constraints of our visual system have if it is explained scientifically. The triangle exists in the second dimension, but when placed into the third dimension (which is what our brains try to do once it is viewed) simply can not happen when realistically applied. Moreover, our visual system is constrained by how it interprets two-dimensional pictorial images into three-dimensional mental representations. It is with the help of such constraints that your visual system assigns de...
