13 At this point I would like to make clear that no matter how subjective, thus relative our observations are they have a direct impact on subsequent design choices for any given place. At the same time, video is much closer to subjective and intuitive description of any given place than a plan, which is utmost scientific and precise, but succumbs to its two-dimensional limitations. The accessibility and immediacy of moving images that are captured and manipulated in video, bring us closer to sensual and experiential depiction of the fleeting contemporary environment, and above all to movement, which is the perceptual phenomenon and experiential reference of our daily life. I postulate that the moving image, video in particular, is a visual reference for the contemporary spatial design. It gathers information transmitted through ours senses, intuition, contemplation and reason, making an individual the locust of perception, experience and interpretation of space. 12 The appropriate condition for perceiving Space Potential with our whole being, transforming it into a complete physical experience is through Spatial Sensuousness. 11 Peripheral vision is linked to individual’s subconscious perception, manifesting through our multisensory apparatus, reviving the information stored in our subconscious. Peripheral vision, as opposed to the focused vision, does not fixate and is opened for interpretation, moreover it has the capability to elevate our perception of space on a level of an existential experience. As for the integration of the moving image into the design process, particularly to the Video Method PLES, I furthermost see it as a medium, which provides information by means of the peripheral, unfocused vision. 10 Moreover, it functions as an inclusive approach, blending direct physical experience and intuition with Space Potential research. The moving image can enrich our perception, because camera has the ability of introducing us to the unconscious optics, as does psychoanalysis to unconscious impulses. Considering that movism changed the relationship between individual and space to an extent, where it cannot be separated from our reality, it is utmost necessary to formally and aesthetically consider and integrate it in every design process to come. Due to a strong presence of motion in our day to day experiential reality, Girot claims that individual’s perceptions have become both relative and confused: some environments may appear extremely pleasant when experienced at certain speeds and become most disquieting at others. Moreover, Video Method PLES is focusing on the notion that by moving through space we perceive and experience a variety of parameters, ranging from cultural, spatial and biotic habits all the way down to phonic, tactile, visual and kinetic parameters in the landscape. The method is discussing interaction between an individual and urban or/and natural landscape, integrating a broad spectrum of viewpoints and stimulus, which can also appear distorted. It forms a base for my creation of the Video Method PLES, using video as a possible tool for analysing, documenting and presenting Space Potential. Movism is the new visual theory of landscape in movement, dealing with the fleeting essence of our epoch. 7 Phenomenon that sets both ourselves as well as our living environment in motion, impacts the relationship between man and his perceptual reality Christophe Girot calls: movism. We are witnessing a situation in which we can see and experience space, urban or/and natural landscape, at different speeds and various times of day, be it through the windshield of a car, the window of an airplane, the screen of a mobile phone, or simply the TV screen showing the mesmerizing alpine grasslands selling us the new taste of chocolate. With the birth of the ever more rapidly moving man, we experience an extremely complex set of parameters that determine our daily choices and visions and delineate the reference frame to our actions. Space Potential: Video Method PLES, image A.H.
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