1. Veiling is exploiting. 2. The Passenger 3. Veiling is a physical tool with which to explore, exploit and experience space. It utilizes our perceptive abilities to imagine something which isn’t there, or that is not completely visible. There is a mystery and an opportunity to exploit spatial characteristics that are born out of the sensitivities to light or sound. In Antonioni’s The Passenger, he utilizes this idea by pointedly shooting a scene, accurately timed, but in a sense chaotic because there is only sound to experience what is happening within the room, behind the camera. An inability to see and experience everything at once heightens the sensitivity to certain senses. In a dark space, sounds are amplified within in order to reorganize and develop an understanding of the space. It is a The body alters its experiences by these heightened sensitivities. In the film, the site being under the Manhattan Bridge, there is inevitably a heightened sensitivity towards sound. The trains overhead are so powerful that it seems unlikely that there is another potential veiling mechanism. But one very important veil is that of light. It illuminates, separates, segregates and obscures the notion of how space is constructed and our relationships between physicalities, like built things, and also between more fluid relationships, like the sky, or its profile, or the water. As the body moves through this veiled space it is readjusting new relationships and the heightened sensitivity that the fragmented experience exposes. In the film as light became a tool with which to build this space, there were many conditions that light is indicative of. It talks about the sun, a time of day, reflectivity of materials it interacts with, passing through, blockage, carrying a kind of outline or pattern of what it has passed through, highlighting something or overpowering. The film begins with light as a point. As a point the light is concentrated. Its source at first is very much apparent, but in the following scene the source of the points of light is unknown. The light then appears as a line. A line, inherently a division between realms or spaces, again has a way of highlighting the space. The structure underneath the bridge begins to form a support for this line. The lines are also created by one’s perception. There is the movement of the train, which is interrupted by the structure of the bridge, but that is somehow experienced as a line. These breakages or ruptures, in a physical sense, again are enhancing the behavior of light. In a third way, light is used as a plane. It reflects, more like a projected image, a kind of hierarchy. Here light is exploiting this hierarchy of materials which are invisible to the eye. The gesture of the space is dictated by manufacturing pieces of a scene which highlight characteristics and materials. Light in these conditions deals with reveal and conceal. This is enhanced and dependent on the conditions of the light, what time of day and how all these moving mechanisms come together to form a certain spatial gesture that talks about the relationships on the site.
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1. Veiling is exploiting.
2. The Passenger
3. Veiling is a physical tool with which to explore, exploit and experience space. It utilizes our perceptive abilities to imagine something which isn’t there, or that is not completely visible. There is a mystery and an opportunity to exploit spatial characteristics that are born out of the sensitivities to light or sound. In Antonioni’s The Passenger, he utilizes this idea by pointedly shooting a scene, accurately timed, but in a sense chaotic because there is only sound to experience what is happening within the room, behind the camera. An inability to see and experience everything at once heightens the sensitivity to certain senses. In a dark space, sounds are amplified within in order to reorganize and develop an understanding of the space. It is a
The body alters its experiences by these heightened sensitivities. In the film, the site being under the Manhattan Bridge, there is inevitably a heightened sensitivity towards sound. The trains overhead are so powerful that it seems unlikely that there is another potential veiling mechanism. But one very important veil is that of light. It illuminates, separates, segregates and obscures the notion of how space is constructed and our relationships between physicalities, like built things, and also between more fluid relationships, like the sky, or its profile, or the water. As the body moves through this veiled space it is readjusting new relationships and the heightened sensitivity that the fragmented experience exposes.
In the film as light became a tool with which to build this space, there were many conditions that light is indicative of. It talks about the sun, a time of day, reflectivity of materials it interacts with, passing through, blockage, carrying a kind of outline or pattern of what it has passed through, highlighting something or overpowering. The film begins with light as a point. As a point the light is concentrated. Its source at first is very much apparent, but in the following scene the source of the points of light is unknown. The light then appears as a line. A line, inherently a division between realms or spaces, again has a way of highlighting the space. The structure underneath the bridge begins to form a support for this line. The lines are also created by one’s perception. There is the movement of the train, which is interrupted by the structure of the bridge, but that is somehow experienced as a line. These breakages or ruptures, in a physical sense, again are enhancing the behavior of light. In a third way, light is used as a plane. It reflects, more like a projected image, a kind of hierarchy. Here light is exploiting this hierarchy of materials which are invisible to the eye. The gesture of the space is dictated by manufacturing pieces of a scene which highlight characteristics and materials.
Light in these conditions deals with reveal and conceal. This is enhanced and dependent on the conditions of the light, what time of day and how all these moving mechanisms come together to form a certain spatial gesture that talks about the relationships on the site.
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