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By Stefano Zuffi

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The abstract circle needs consistent spatial cues to be properly read, yet these spatial clues are purely cultural and in no way essential to perception generally, since, without the cues, the circle is still perceived, just not perceived correctly. Vernon’s stereoscopic examples demonstrate this important distinction between perceiving what one expects to perceive or feels comfortable perceiving and perceiving what is actually there, and the central role that cultural conditioning plays in the process.

D. d. 16 not create them to be viewed on their own or to be viewed publicly. 3 The notebook sketches represent a significant but relatively invisible aspect of Smithson’s working process and therefore need to be considered as a part of this process in order to be understood. In 1966 and 1967, Smithson produced a series of multiple-unit, threedimensional works, which he called Alogons, that possibly began with these notebook sketches. At least, Smithson made the sketches with the Alogon series in mind.

The abstract circle needs consistent spatial cues to be properly read, yet these spatial clues are purely cultural and in no way essential to perception generally, since, without the cues, the circle is still perceived, just not perceived correctly. Vernon’s stereoscopic examples demonstrate this important distinction between perceiving what one expects to perceive or feels comfortable perceiving and perceiving what is actually there, and the central role that cultural conditioning plays in the process.

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