"And yet viewing several depictions of even an imaginary city, is enlightening in a way," Leibniz said. "Each painter can view the city from only one standpoint at a time, so he will move about the place, and paint it from a hilltop on one side, then a tower on the other, then from a grand intersection in the middle — all in the same canvas. When we look at the canvas, then, we glimpse in a small way how God understands the universe — for he sees it from every point of view at once. By populating the world with so many different minds, each with its own point of view, God gives us a suggestion of what it means to be omniscient."

perspective shapes our reality.

Perspective often comes from distance or time. If you’re trying to solve a problem and you’re stuck, try shifting your vantage point. Examples of this are moving up and contemplating the bigger picture, moving down and seeing more details, or assuming the perspective of other stakeholders — customers, suppliers, partners, government. Many problems become clearer if you extend the timeline. What does this situation look like in the weeks, months, and years ahead? Assuming different perspectives allows you to gain a more complete understanding of what’s really going on.

Perspective is nothing more than a rational demonstration applied to the consideration of how objects in front of the eye transmit their image to it, by means of a pyramid of lines. The Pyramid is the name I apply to the lines which, starting from the surface and edges of each object, converge from a distance and meet in a single point.

What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed up against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, criscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.

My destination is no longer a place, rather a new way of seeing.

Point of view is everything.

The argument that new vision becomes the reference point for the future, is a line that I have been driven to use on many occasions.

Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.. ..the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art.

Perception is transformed, and a new reality is born.

It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example [his paintings] the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914).

The postmodern poststructuralists go from saying “there is no final perspective” (or “perspectives are boundless”) to saying “therefore there is no advantage in any perspective over another.” This leveling of perspectives is not an interrelation of all perspectives but is itself merely one particular and covertly privileged perspective (and thus ends up, as we have seen, being perfectly self-contradictory: there is no advantaged perspective except mine, which maintains that all other perspectives are not so privileged).

Perspective is that part of a poem, novel, or play which a writer never puts directly upon paper. It is that fixed point in intellectual space where a writer stands to view the struggles, hopes, and sufferings of his people. There are times when he may stand too close and the result is a blurred vision. Or he may stand too far away and the result is a neglect of important things.

...there is another kind of perspective that is of great importance in picture-making. This is known as aerial perspective, and this kind of perspective imparts "atmosphere" and depth to a picture, and gives a suggestion of space and distance in an outdoor view.