The chapter begins by talking about a philosophical issue – that is, do things that we don't sense exist... when the tree fell on the ground with no one there to hear it, did it make a sound. That issue.
As artists, we inherently use the technique of CLOSURE to communicate particular things. Closure simply relies on the viewer to piece things together, or to complete an image or idea. By utilizing these inherent skills of the human brain, the artist/communicator has a more simplified task – and is relatively free to a certain amount of fragmentation and rendering styles and things...
It is not possible to draw the planet AND everything on/in it all in one picture frame. [unless it was a really big frame that was temporally sensitive (using motion)...] It's hard enough to communicate one human action in one frame. It is easier to do with time based media than it is with comic strips because one has only so much space to work with when rendering a comic – so the images and messages are very fragmented. for comics there are different levels of fragmentation. they can be as simple as say two stills of a stop-frame animation, or the can be as complex as going from one scene to another (ie two characters are at a gas station in one frame, and in the next the are on the beach).
The author who uses CLOSURE (I wonder why the used that word to name the concept) is able to make it more easy or difficult for the viewer to follow what he is communicating.
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