描繪，顯影與捕捉

Space Derived from Light (I): Depiction, Development, and Capture

我們在中學課堂上練習的數學幾何，撇除證明解題的形式之外，本質在於研究空間中的形體定義關係，可能是大多數人第一次接觸到系統性的空間思考。亞歷山卓的歐幾里德（Euclid），是希臘幾向學的開山祖師，《幾何原本》中所提出的公設與推衍，直到現在還是數學與與邏輯思考的重要基礎。

This article examines the co-evolution of visual media technologies and concepts of spatial geometry throughout Western history. It begins by tracing back to Euclid's Optics in ancient Greece, noting that mathematical geometry had established the foundations of light and vision as early as the pre-Christian era. Subsequently, by contrasting the Medieval period with the Renaissance, the author argues that the codification of linear perspective not only transformed painting but also served as a potent instrument for urban design. It transformed the meandering, enclosed, and organic settlements of the Middle Ages into modern cities that emphasized linear axes, visual order, and accessibility.
In the nineteenth century, the invention of photography delivered the shock of ''developing'' reality, prompting Impressionist painters to shift their focus toward capturing the urban ''milieu'' and atmosphere amidst the interplay of light and shadow. Finally, the article explores the emergence of cinematography (e.g., the Lumiere brothers), observing that moving images successfully ''captured'' the visceral flow, velocity, and industrialized landscapes of the modern city, such as locomotives and crowds of factory workers. Summarizing the trajectory from hand-drawn depiction and photographic development to dynamic capture, this article reveals how visual technologies construct and reflect our cognitive understanding of contemporary space and urban modernity.