Abstract

In this article, I will attempt to provide a historical case study, I suggest that the demarcation between perception and how a figure is ‘seen’ is the process of perpetual filtering between the levels of sensation and perception. I argue that this filtering operates through the basic visual principles, which may vary and have divergent functions in different paradigms. This historical case study will focus on the fifty-six plates featured in the influential work of the London surgeon William Cheselden, to reveal the paradigm-based filtering in these prints by arguing that the sense data is organized in the simplest manner to view figures in their unity. Thus, I will focus on the visual principle of simplicity, which features the patterns of similarity, contrast and symmetry. An analysis of Cheselden’s usage of these patterns will demonstrate that he aims to show that every bone in human body is united to one another, which forms an organizing structure. I will conclude that these visual principles were used by Chelselden to achieve perfection by conveying right proportions and the correct number of scales of human body since his observations was laden with Newtonian paradigm. Finally, I will compare this usage to that of Ibn Sina’s, to disclose the paradigm-ladenness of scientific observations.