Sunday, September 30, 2007
With that said i attended the writing seminar and i think it covered some interesting conditions of authorship and the task of our thesis 'procis'. I think it is an interesting text to be written in that it lays down the foundation and relative truths from readings we find to be relevent in laying down the parameters by which we will explore the thesis. I hope that during class we may begin to discuss the importance of laying down in writing this procis. I tried to discuss this in the seminar but i personally feel these procis must discuss the dilemma of linguistics in discussing space and time, issues of scale and the middle world and the framework of perception that is vital to the issues being explored. Now all may not find these to be dilemmas but is it wrong of me to think of the procis as the place of authorship that would establish certain issues of domains that we have discussed before based on the theoretics of our thesis as well as the text and linguistics already discussed in class.
I re-read with Mike's project in mind asking myself what in here is usable .....these ideas are present in the fountain he filmed but it is organized , more complete with possible metaphoric associations.....they could be used ......yes they are kind of obvious but they are just a beginning for associative thinking...
types of states and movement of water:
waves they occur at the EDGE of lakes ......caused by stones, paddles or winds
currents (of rivers) .as LINE ... one does not see the where they begin (source) and
where they go (end)...they are hidden...it is directional.....
from a child " it goes away...how come there is always some left"
the mystery of finite being..........
"the water runs because of the slope".....the idea of weight and
Saturday, September 29, 2007
P46 - part of the chapter talking about the Tension between Interior and Exterior.
Peter Zumthor - Atmospheres
By the way, "Atmospheres" and "Thinking Architecture" are unbelievable books. If you have not read them you should.
Friday, September 28, 2007
Thursday, September 27, 2007
Tuesday, September 25, 2007
read this before you start your drawings.
Monday, September 24, 2007
Sunday, September 23, 2007
quit making this more difficult than it need be.
many of you simply dont seem to understand what a metaphor is.
here is some very simple advice,
read metaphors we live by as you were asked to do in the first week.
read the examples, USE the examples.
orientational metaphors as example...
conscious is up,unconscious is down.
high status is up, low status is down.
rational is up,emotional is down.
with that said, we should be well into editing by now.
this is due on tuesday.
First of all, although it seems complicated, it is actually very easy after you've gone through the tutorial. I suggest that whoever has the same videos go through the ripping process together and share the compressed (avi) file so that you don't all have to go through the entire process . Its easy, but can be time consuming (most of it is just waiting for the computer to convert files) and it also requires a ton of hard drive space (around 4gb) to temporarily store the uncompressed DVD on your computer. So like I said, I think it makes sense to do it together if possible...
So here's what you need to do:
1. Go to: http://www.afterdawn.com/software/video_software/dvd_rippers/dvd_shrink.cfm
2. Download "DVD shrink" and install it
3. Install the "Womble mpeg video wizard" (one of the programs that I gave you)
4. View the attached tutorial (It is hard to see exactly what I'm doing because of the bad video quality that the video gets converted to when uploaded, but I think you guys will be able to figure it out..)
Saturday, September 22, 2007
Allow me to explain myself(Ironically enough through linguistics and metaphors) see Comments.
When looking at Alfred Hitchcock's Rear Window and Richard Serra's "Sequence" I began to look at common threads between the two. Both seemed to have a theme of a "Threshold between reality and illusion". Serra's piece dissorients you when walking through the curvilinear walls and gives the illusion of endlessness. In Rear Window you are trying to figure out, along with the main character Jeffries, what he is immagining and what is reality and actually happened. He cannot see what happens beyond his frame of vision and speculates what happens in those moments when the characters he's watching slip beyond his frame of vision. The closer he got to the characters through his telophoto lens, the more he could see of the truth.
The site I chose is the roof of my apartment. I live on the 3rd floor of a brownstone on the corner of a block and there is a rooftop outside my back windows from the extension of the bottom two floors.
Friday, September 21, 2007
Thursday, September 20, 2007
I need to refine it. I couldn't decide my site yet, but I'm planning to go check out Roosevelt Island tomorrow and do some pictures, videos.. I'm looking for a place where low rise buildings frame my view, but not so dense that buildings form a wall.
Wednesday, September 19, 2007
I chose to analyse Nostalghia's dream scene where after fighting with his interpreter he remembers his family and house in Russia.
Movie - Michelangelo Antonioni's The Passenger
Metaphor - Shadow
in regards to the installation i chose - The shadows reveal themselves as much more than images cast from the fragments of the blown-up garden shed. These shadows hint at the hidden reality, the unconscious, the undeveloped (transformable) field wherein meaning has been produced by simply turning on the light bulb. The fragments are finally able to become what they really are and replaced for what they could become. The past and present are conflated where this temporal nature is frozen.
The power of the shadow is that it creates an alternate reality from an illusion or turns the illusion into reality.
The images below are in response to the film i have been analyzing (The Passenger). The first image is a still of a particular scene where David Locke is about to drag the body of another person whom he will change identity with, Mr.Robertson.
The next image is a collage i had made to make my point - "shadow." "The Girl" is looking into the space through the window where David is dragging another person out (which is David in the scene) and the person to the right (David again) is watching all of this as well. I created this image by taking 4 different stills from the movie. David on the right is actually looking into an open locker, but i used the darkness of the interior of the locker as if it was a dark wall in the image.
The shadow can take on many meanings. The Girl is David's alienated self, desire, the psyche David wants to reach and is the subject outside the window. She attends his life as a 'shadow' spirit who has been assigned the duty of guiding him through his final acts on earth. David on the very right of the image who has already changed his identity as Robertson is looking at his old-self, the shadows. David on the left is dragging Robertson on the floor but I tried to make it so that he is really dragging himself out of this hallway. In a way, they are all casting a shadow of themselves in this one scene i had collaged.
Hence, shadow as knowledge - self-awareness is the kind of metaphor i'm trying to get at in this simple image where i wanted the shadows to have a kind of time and space of it's own.
As for my site, I've been thinking about filming some pedestrian street at the LowerEast Side where a lot of people pass by.
Im thinking of putting my self in that exact position, this time with a vid-camera in hopes my fears and emotions will affect my taking of the video. I'd like to play a little with the paradoxy of containing danger, and yet being contained from danger. I'm wondering what your thoughts are, and if you could bring anyting to my attention.
Inhabit and Observe the site.
See, Touch, Smell, Listen, Taste.
Read the Cinema 1 Handout.
Write and Sketch.
-what type of 'drawings' might activate senses other than visual? (ex. rubbings-material tactility)
How does the site perform?
Which Verbs are amplified on site?
Identify the 'elements' (ie.weather.) Film at different conditions, amplify the elements.
Consider filming a drawing (ie.map.)….Marking, Scanning Scrolling...
Consider using techniques from your film analysis (spatial and technical)
Consider the position of the camera and the objects filmed (moving/still...up/down)
Use at least 2 different means of recording technology, high (ie.digital camera/video) and low (ie.Polaroid, phone camera/video.)
Tuesday, September 18, 2007
Monday, September 17, 2007
Veiled landscape is a series of inserted platforms in a clearing through the woods. Each platform is arranged along a created optical crosshair that has been interjected between them. The screens are a physical boundary instrument that filter and dissect the natural landscape in infinite ways, using layered subdivisions to constantly alter the view. Arrangement of the scene is dictated by the approach, navigation around, navigation onto and deviation around the platforms. The space between the body and the screen is critical to this idea of filtering, but also creates heightened senses by the constantly scaling scene. These veiled frames are an instrument through which the individual experiences the other platforms and visually navigates between them, the clearing and the woods. The significance of the eyes utilizing the screens as an instrument to hold and penetrate the layers of divisions and distances. The spatial experience of nature, as this plastic kind of experience, in a technical way through these screens makes the viewer acknowledge a layered division that is divorced from a scale that is known and allows us to make judgment. “…space can be measured and plotted, distances estimated…” (204) Because of the changing scales of each of these interventions as one descends the clearing, the space of the woods and the relationship from one screen to the next is constantly being reevaluated through the eye, which moves itself between these. The landscape becomes objectified through these screens, and infinitely, because as the person moves through, between and around the platforms they are constantly altering these distances and scales.
The way that the body is constantly moving and evaluating the space through the screens allows the person to be registering their own spatial intervals. The use of the geometry of the objects, as well as the orthogonal placement of them, as a vehicle to create a visual field that is more objectified. Although the composition on an orthogonal was not meant to be specific, there are certainly implications to that that are inherently important. What does it mean to insert oneself in an orthogonal manner into this place?
“The frequent use of telephoto lens and frontal shots reduces the plasticity of space and fuses figures and ground…the narrative drama dissolves into visual aesthetics. The elimination of depth serves the purpose of equalizing various elements of the visual field and turning characters into objects and vice versa… ‘What interests me now is setting characters in contact with things…’” (123 Pallasmaa).
Sunday, September 16, 2007
I was wondering if we can save some class time for a quick desk-critish sort of meetings. I have a number of ideas that I have had prepared before thesis had begun and I want to be able to move them through what we are doing.
Saturday, September 15, 2007
The metaphor is the perception of dialectics among Time and Space as an object; the metaphor is therefore not the object but rather reaction of the viewer to the object. The Storm and The Fall is Lebbeus Woods' metaphor to the architectural event which occured on 9/11. It is in no way a re-representation of the condition but rather a abstraction of Time and Space that occured within the architectonics of the collapsing World Trade Centers. A direct assimilation can be made in that the installation is some Nostolgic Manifestation of the event. How the viewer registers this is based on their own "nostalgia" of 9/11, as recollected within the instillation as form in site.
I am looking to watch the movie again this evening to begin to further justify the possible metaphor the concept of "nostalgic representation" has on the manipulation of Time and Space. I will scan images of the installation and post them tomorrow,to bring some insight on the possible cognitive perception of the installation as a built form (dependent on Time and Space). I am at the moment disconnected linguistically in how to assimilate the conditions of metaphoric nostalgia both in cinema and installation to the readings of perception of forms, physical causality and cognitive metaphors. I am confident there are strong dialectics, i hope to post tomorrow a better explination that can justify the comparisons being made. I want a group of drawings that would visually begin to diagram the dialectics of text, instillation and cinema (We will see that for Tuesday, hopefully). Sorry for the delay on the postings.
Spin Out (for Bob Smithson) 1972-73.
Kroller-Muller Museum, Otterlo
An elliptically shaped enclosure with steep walls and dense foliage along its rim. A single pathway, at ground level, permitted entry to its sheltered interior. Inserted into this basin at positions approximating 12, 4, and 8 o'clock are three steel plates, each measuring 10 feet by 40 feet by 1 1/2 inches. These walls create a force field at the heart of the outdoor room, a spatial vortex that exerts an alternatively centripetal and centrifugal pull on anyone approaching its center. When viewed from above, however, the spatial dynamic reads quite differently: it becomes less visceral, more cinematic, as the viewer's gaze is constantly interrupted by the trunks of trees hugging the basin's rim.
The Mary Miss installation is an intentional and consciously functional material construct intervention within the perfectly functioning system of nature. The intentional and conscious quality in both this act of intervention and how it is perceived, both speak of a significant human component. That is, the part amidst the whole; Perception itself making any distinction at all. The lumber-metal-earth-water construct establishing a hierarchy and relationship between elements with an intended function. Installing the intervention within a natural setting contrasts the duality of man’s invention with nature’s invention. Furthermore, the reflective troughs allow the human to experience a visual connection between the earth, her or himself, and the sky. Concrete, to transient, to ephemeral all at the same moment.
There is a revelation through this contrast of human intention and nature in that human intention (the construct) seems to lose its function when set amidst a vast natural setting. The perfectly cut dimension lumber’s function is dwarfed by the natural apparatus it is connected with. The construct seems to be futilely inserting itself into an already functioning seamless system. Such would force the user to question, what, but more importantly, who are our inventions for. The perception only occurs in human beings. Ricardo Scofidio claimed that the human mind was the “only landscape capable of sustaining the construction of logical incongruities.” Our creations are interventions in nature. We are the intervention in nature. Nature, often indifferent to that which we create but the discourse and progression that it creates qualifies its creation. The human hand shown for man in a natural intervention is a portrait of purpose of the functionless wood.
On the other hand, we are partly nature itself. We are made up of its elements operating as a natural animal and yet we have the ability to dream out of plastic reality and operate in mind space.What conditions are necessary for us to experience plastically what we dream?
I am finishing the drawing this weekend.
Friday, September 14, 2007
Thursday, September 13, 2007
Battery Park Landfill
New York, New York 1973
Mary Miss’ intallation is located in a large open space. I would consider it an “architectural decor”.Emerging from the ground of this vast space are five billboardlike structures.The first structure has a full circle,in every other structure the circle sinks down gradually into the ground. Mary Missuses the ground as an element of her installation, the ground becomes part of the structure since the circles look like they are sinking down in it. Geometry and repetition is used. “the unimposing structureshold a series of clearly articulated concentric circles descending into the ground, as though a column of air were being defined as it tunneled into the ground...” A straight line is used to place the structures and they are each 50 feet apart. The viewer, coming from the North side, can not see the project as he isapproaching it. However, as the viewer walks to the front he can start seeing the project. The viewer needsto get involved with the piece in order to get every aspect and view of it. These structures give a sense of howvast and deserted the land is, they have no boudaries. The front view looks combines all the void circles and looks like a sunset into the ground.