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The three-dimensional sound design in Gravity adds depth, reality, and intensity to its two-dimensional image. For example, one scene in Gravity showed an astronaut spinning around after being hit by an object and the sounds "spun" with the astronaut to add emphasis to the spinning, and added realism and intensity to the event. The spinning sound (assuming there are enough speakers to make the three-dimensional sound possible) made the audience relate to the astronaut and feel as though they were also spinning. Another example is in the introductory scene: where to astronauts are talking to each other. To the audience, the sound seems very quiet and distant, yet was very easy to tell which direction the sound was coming from. Without even seeing the characters, the audience is able to determine that a female astronaut is speaking to a male astronaut and which side of the frame each of them is on. The silent, distant sounding voices adds to the feeling of distance as we are shown a picture of the Earth from space. I liked the movie the sound effects was the kicker for the movie, They show the the team outside the ship fixing a main board, the sounds you hear are what the astronauts experience muffled sounds of thumping, the rubbing of the gloves using the tools. The chasing sounds were very cool when the shuttle craft was being hot by space junk from the Russians, the chasing sounds as the junk hitting the ship and swooshing by her as Sandra Bullock spun out of control on the hoist arm, what I also liked When they communicated over their mics, the voices sounded just right due to they were speaking in a very small contained area using the actual mic. I liked how George Clooney talks about stupid stuff, to tuck away his fear, he was kinda funny, and when Sandra Bullock turned of the the air valve to give up, then she had a dream just before she pasted out of her Captain talking away, Sandra wakes up turns on the oxygen valve and is enlighted by a great idea, that will save her life... again you can hear the muffled sounds of vibrating space capsule detachment. ...

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talking away, Sandra wakes up turns on the oxygen valve and is
enlighted by a great idea, that will save her life... again you
can hear the muffled sounds of vibrating space
capsule detachment.

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arts Article Circling Round Vitruvius, Linear Perspective, and the Design of Roman Wall Painting Jocelyn Penny Small † Department of Art History, Rutgers University, New Brunswick, NJ 08901, USA; [email protected] † Mail: 890 West End Avenue, Apartment 4C, New York, NY 10025-3520, USA. Received: 1 April 2019; Accepted: 2 September 2019; Published: 14 September 2019 �� Abstract: Many scholars believe that linear perspective existed in classical antiquity, but a fresh examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria, while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text (Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing Styles II, III, and IV of Roman wall painting. Hence, linear perspective and its relatives, such as Panofsky’s vanishing vertical axis, should not be imposed retrospectively where they never existed. Keywords: linear perspective; skenographia; skiagraphia; Greek and Roman painting; Roman fresco; Vitruvius; Philostratus Two systems for designing Pompeian wall paintings have dominated modern scholarship: a one- or center-point perspective and a vanishing vertical axis.1 Neither method works for all the variations seen on the walls of Styles II–IV. The vanishing vertical axis is considered a precursor of linear perspective, whereas center-point construction is a form of linear perspective. Many scholars believe that linear perspective was invented by the Greeks, only to be forgotten during the Middle Ages and “reinvented” in the Renaissance.2 In contrast, I propose that linear perspective was not known in any form in antiquity but, rather, was an invention of the Renaissance, which also created its putative ancient pedigree. 1. Background 1.1. Definitions First, it is important to define four key terms. “Perspective” applies loosely to a wide range of systems that convert a three-dimensional scene to two dimensions. Most scholars, however, mean “linear perspective” when they use the unqualified term “perspective”. No standard definition exists for linear perspective, but only linear perspective obeys the rules of projective geometry. Formal definitions refer to “station points” (the point or place for the “eye” of the “viewer” and/or “artist”), vanishing points, horizon lines, and picture planes, among other aspects. Horizontal lines converge to the “center point” or, in the case of 1 This topic is remarkably complex with a massive bibliography. Small (2013) provides a reasonable summary of the scholarship to its date of publication. Since then, I have realized that the standard interpretations of key texts and objects needs to be totally rethought. This artic.

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