Invention of linear perspective in quattrocento is more than just an artistic event. Painter’s technique of representation of architectural space not only re-trained human eye in a way that it saw world’s phenomena as specific perspectival problem, but it also showed that the human eye is obsolete and anachronistic. The history of perspective is constituted of a series of intrusions that are not made to fit human domain. Therefore it radically transforms not only man’s visuality but also its perception of itself and of the outside world. The question of perspective is not a question of realism, its real contribution is inauguration of a certain code that begins to structure all areas of human’s activity. In this thesis we follow its influence through the development of a new concept of space, subsequent initiation of modern science, and gradual formation of fully autonomous and independent (perspectival) machines.
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