ABSTRACT
I. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
II. What Do We See? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
A. Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346
B. Visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347
III. Data Acquisition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350
A. Quantification of Visual Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351
B. Morphological and Stereological Principles . . . . . . . . . . . . . . . . . . . . . . . . . . 352
1. Qualitative Microstructural State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352
2. Quantitative Microstructural State . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353
3. Topological Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354
IV. Chaos and Fractals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355
A. Process Visualization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360
V. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363
Contemporary society demands a culture based on the images. Endless quantities of information
must be collected in purpose to exploit the natural resources, increase the productivity, keep the
order, lead the war, or give jobs to the birocracy. Double properties of visual information, to make
reality subjective or objective, are ideal for these purposes. Sets of visual information, called
images, define reality in two very important ways of existence of the contemporary society: as
spectacle and as the subject of control (process, technology, phenomenon, or system). Image pro-
duction creates leading ideology. Real changes are substituted with changes of the images.
Freedom to consume the huge amounts of the information, mostly visual, may be equalized with
the “freedom”. Decreasing the freedom of choice to free economical consumption demands,
endless production, and consumption of visual information replaces the freedom. Since we
produce images, we use them by creating the need for more information and this goes toward eternity.
Sets of visual information are not a kind of constant treasure, they exist everywhere and the only thing
we have to do is to memorize them using a suitable system. An image could induce certain stimu-
lations in a person in a manner similar to that of a desire, and such stimulations are not clearly defin-
able. Since the sets of the visual information are endless, each project from this field swallows itself.
Author’s attempts to fix the worn-out meaning of reality, just makes the very attempt worn-out. Our
bitter feeling of permanent motions and instabilities related to the real world sharpened from the
moment the means for fixing fluctuations in visual information were available to us. We spare the
images on ever-increasing rate. As Balzac suspected that cameras spend the body parts, the images
spend reality. Sets of visual information are at the same time antidotes and the illness, means to
acquire the reality and to overcome it. Power of visual information blurred our understanding of
reality, in that way we do not think about our experience through differences between images or
differences between copy and original. Platoon compared images to the shadows, transitional entities
with minimum information, immaterial and weak followers of real things that make them. The power
of visual informations comes from the fact that they are themselves the material reality and a treasury
of information. They remain as the consequences of entities’ emission, powerful enough to turn-over
the reality. This is the way an image becomes the shadow of reality. If there is a better way to acquire
the entities of visual information, then we will need not only the ecology of real things but also the
ecology of visual information.
