tag:blogger.com,1999:blog-50189057232300460852024-03-13T04:08:17.991+00:00space framedPhotography and the Human HabitatUnknownnoreply@blogger.comBlogger257125tag:blogger.com,1999:blog-5018905723230046085.post-85786197232671485002015-05-15T19:00:00.000+01:002015-05-18T17:51:27.556+01:00A View of the City - A Critical Reflection<div style="text-align: center;">
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<span style="font-family: Times, Times New Roman, serif;"><i>“</i></span><span style="font-size: small;"><span style="font-family: Times, Times New Roman, serif;"><i>That's
the biggest selfie stick I've ever seen”</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> says the voice. I lift my
head toward the rear of a large delivery vehicle, where a man stands
on a raised platform above the street level, we both look up at the
camera and laugh in agreement. I am walking up Grafton street for the
fourth time in the last half hour, pushing a bike with a six metre
telescopic pole, atop of which a small video camera is mounted,
recording our every move. <a href="http://shop.gopro.com/EMEA/cameras/hero4-black/CHDHX-401-master.html" target="_blank">The camera</a> at this moment in time plunges
myself and all others into a visual archive of the city, an archive which maps
urban form and encounters. It also paints us into a world of
surveillance, within a medium which transfigures between artifice and
archive.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The
'View of the City' challenges our definition of what visual archive
is? What does it do? What is it's purpose? And what new information
and interpretation can we disseminate from the practice? These are
questions that I have tried to figure out on my time during these
looping peregrinations through, and circumambulations of, this
primary route. The project for me was primarily concerned with our
experiences and encounters in the city which could be effectively
expressed through visual media. The process of walking allows one to
reflect on the purpose of this visual practice. </span></span></div>
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<span style="font-size: small;"><i><span style="font-family: Times, Times New Roman, serif;">"A walk has a
continuous linear narrative, which becomes a picaresque adventure
filled with multiple diversions and encounters, the people and
objects you encounter become a vignette within a picaresque story." [1]</span></i></span></div>
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<span style="font-size: small;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">You
walk as think your way through Grafton Street, and by doing so it
allows you to absorb the narratives of street life, its cathartic and
experiential. This translocation gives a compendious understanding of
Grafton st. providing you are willing to fully engage with an active
observation of the city. Through this lens the street reveals its
diverse oeuvre. A theory which may seem somewhat laconic, but one
which is made possible by viewing a blinding familiar street with a
new pair of eyes. The 'View of the City' offers the viewer a
simultaneous reading of the non standard '</span><span style="color: #222222; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">obtuse'</span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">
</b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">viewing planes of the city. This visual representation traces
the things which are </span><span style="color: #222222; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">fugitive</span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">
and subaltern to the user whom has an 'a priori' understanding of
this </span><span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">embodied
local route through the city. The moving image in this sense has the
power to illuminate the things which move below the surface and
light, to un-nest a series of frameworks and entangled conditions and
to reveal a series of realities constructed within realities </span><span style="font-family: Times, Times New Roman, serif;"><i>[2]</i></span></span></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">, All of
which enable us to produce new knowledge of the city street.</span></div>
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<span style="font-size: small;"><span style="color: black; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The
challenge for the project reveals itself in a simple question, How
can this information be disseminated to understand and inform our
shaping of urban forms and public spaces? To which my </span><span style="color: #222222; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">riposte</span><span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">
would be; What can we truly learn about the city through visual
practice? My pathway along this project has informed my judgement on
how photography and visual media has the deeply embedded ability to
aid the research and justification of the reality of city life, how
the capturing of the dynamic flux and flow of a people in constant
movement form the evidential nature of the urban condition and in
time the urban archive </span><i><span style="font-family: Times, Times New Roman, serif;">[3]</span></i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">. </span></span></span>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-size: small;"><span style="color: black;">The
camera become the an apparatus which can provide us with a mode of
justification. The camera which we used had an effect upon our
methodology of working, in the sense that its small size does not
encourage close contact encounters through the intrigue of the
public, which is opposed to the group who were doing the portraiture
photography on O'Connell street. The increasing availability of
inexpensive recording equipment provides us with an opportunity to
constantly create and archive. An opportunity which companies like
Google have used to create large scale <a href="https://www.google.ie/maps/place/Grafton+St,+Dublin/@53.3426,-6.259582,3a,75y,196.32h,87.35t/data=!3m4!1e1!3m2!1sv760rdgdgsbJvmQadxrTZA!2e0!4m2!3m1!1s0x48670e9b8c8edbf1:0x90afb1bb108edcdd!6m1!1e1" target="_blank">street-scape representations</a>
of every major town known. Vast amounts of data, pieced to together
to form coherent imagery. Imagery with no framing, no analysis, no
awareness of social practice or ritual, no knowledge of its history,
it renders it as pointless data in terms of the the visual archive of
the city as a digital archaeology. The project aims to tell you about
proximity and connectedness of the city, it aims to understand our
awareness of the city as a series of linkages across a uniform ground
surface which we are all connected to, </span></span>
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<span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The
urban visual archive and 'The View of the City' is a process of
capturing the city at a moment in time, through which we can revisit
and recover the knowledge and lives of the previous societies who
ingrained their mark on this street during this moment. The visual
archive is a layered series of elements, moving from the physical
capturing of light through a camera to capture the raw information,
to the condition and meanings which can then be associated to it and
finally to its purpose, how will this visual representation be interpreted in the future, will it be used as evidence for change,
or as an understanding of the ethics and politics of the time? </span><span style="font-family: Times, Times New Roman, serif;"><i>[4]</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> <a href="http://xroads.virginia.edu/~ma01/davis/photography/riis/lanternslides.html" target="_blank">The Urban Reform Photographers</a> of New York in the early 20</span></span><span style="color: black; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><sup>th</sup></span><span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">
century relied on this visual urban archive as a medium to influence
change. The wanted to use the image as a way to articulate meaning.
<a href="http://www.smithsonianmag.com/history/pioneering-social-reformer-jacob-riis-revealed-how-other-half-lives-america-180951546/?no-ist" target="_blank">Jacob Riis</a> </span><i><span style="font-family: Times, Times New Roman, serif;">[5]</span></i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> a police reporter and photographer documented the working
and living conditions of the poor in the city, building up an archive
of photos which were embedded in meaning and emotion, a commonality
of many being rubble, laundry, vandalism, social segregation and
isolation. He used the evidential nature of the conditions of the
city to propel change in policy and law, for better housing, social
facilities and quality public spaces for a people left behind. But,
this theory is conceited, by the fact that it was later revealed that
many of Riis photographs were in fact staged. Therefore visual
representation can be left open to the construction of artifice,
which effectively removes the authenticity of meaning attached to it.</span></span></div>
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<span style="color: black; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The
'View of the City' cant be read as unfettered evidence of past
realities of the daily lives of the early 21</span><span style="color: black; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><sup>st</sup></span><span style="color: black;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">
century <a href="http://www.theatlantic.com/national/archive/2009/06/homo-urbanus/18884/" target="_blank">homo-urbanus</a>, but can only be understood as a visual
representation which is embedded in its own entangled history, just
as we all are </span><span style="font-family: Times, Times New Roman, serif;"><i>[6]</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">. The ulterior visual representation of the street-scape
is only real as a moving image. It moves along the boundaries between
documentation and art. It is a hybrid form of visual representation
which can be read as a performance art piece, whereby the people
within it are vignettes acting out their picaresque journey, or they become the subjects of documentation through visual sociology, where we can attach meaning to
them as individuals. </span></span>
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<span style="background-color: white; color: #252525; font-size: 14px; line-height: 21px;"><span style="font-family: Times, Times New Roman, serif;"><i>"The lens, the so-called impartial eye, actually permits every possible distortion of reality: the character of the image is determined by the photographer's point of view and the demands of his patrons. The importance of photography does not rest primarily in its potential as an art form, but rater in its ability to shape our ideas, to influence our behaviour, and to define our society" [7]</i></span></span></div>
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<span style="font-size: small;"><span style="color: black; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Which
ever way the project is viewed or interpreted at a later stage, it has the ability to serve as a </span><span style="color: black; font-family: Times, Times New Roman, serif;">"</span><span style="font-family: Times, Times New Roman, serif;"><i><span style="color: black;">repository
of the collective memory of its inhabitants, mnemonic to their
knowledge of previous eras, and a source of ideas about </span>their
social identity [8]".</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> I think the act of 'remembrance' is of great importance to this project, for the reason that, 'all we love,
we leave behind'. Beyond metaphor this phrase represents our innate
understanding that the present dissolves into the past and that the
memories of these spaces become de-saturated and sentimentalised. The
act of creating the visual archive of the city is a continuous
process. We capture, we catalogue, we preserve, we move on. The
French historian Pierre Nora</span><span style="font-family: Times, Times New Roman, serif;"> <i>[9]</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> explains that memory becomes so much
more important if the future does not offer progress. From this we
can understand the importance of the visual archive as an
interdisciplinary movement, one which can take the work of
photographers, architects, sociologists, anthropologists and
urbanists to use visual practice as a mode for change, a change which
can inform and orientate the way we shape our cities, the way we
populate our public spaces and the ways in which we encounter the urban
realm. </span></span>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">Is
this view of the city useful? Maybe not, but this film promotes
debate on how urban visual practice engages and shapes our
understanding of public life and public space. The success of the
project as an exhibition will only be determined by the engagement of
the viewer, or their willingness to look up, and participate in this
new obtuse view of the city. The front entrance hall of the building is essential
to its spectacle, The initial idea of the installation was to
resemble a <a href="http://www.abelardomorell.net/photography/cameraobsc_01/cameraobsc_18.html" target="_blank">camera obscura</a>, whereby the functioning of the room as a
proto-camera. This would have been a powerful visual expression of
the city, as </span><span style="font-family: Times, Times New Roman, serif; font-size: small;"><i>“seeing the unreal created in the real environment is
an intense aesthetic experience” [10]</i></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">. The exhibition had its failings
in other areas which need to be addressed, the use of sound would
have enhanced the experiential qualities of a '<a href="http://www.theguardian.com/science/2014/apr/27/benefit-synaesthesia-brain-injury-mental-decline" target="_blank">synaesthesia</a>' for the
viewer. By viewing people drift in and out of scene and hearing only
parts of their conversations, it places the viewer back into the
time-frame at the moment of capture. I believe that this exhibition
could be developed further to enhance the experience of viewing these
obtuse views. T</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">o craft a more immersive</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> experience which concisely
expresses the importance of the city as visual archive. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Kevin O'Brien</span></div>
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<span style="font-size: xx-small;"><span style="font-weight: normal;"><span style="background-color: white; line-height: 12.6000003814697px;"><span style="font-family: Arial, Helvetica, sans-serif;">[1] Self,Will - excerpt from 'In Confidence' interview - United Kingdom: Sky Arts - 2009 - TV Series</span></span></span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[2] </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">Halliday, Paul et al - excerpt from TATE modern ‘Urban Encounters - Routes and transitions - United Kingdom: Tate Modern - 2013 - Annual Conference</span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[3]</span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;"> </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">Halliday, Paul et al - excerpt from TATE modern ‘Urban Encounters - Routes and transitions - United Kingdom: Tate Modern - 2013 - Annual Conference</span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[4] </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">Halliday, Paul et al - excerpt from TATE modern ‘Urban Encounters - Routes and transitions - United Kingdom: Tate Modern - 2013 - Annual Conference</span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[5] Riis, Jacob - How the Other Half Live: </span><span style="background-color: white; color: #252525; font-family: Arial, Helvetica, sans-serif; line-height: 22.3999996185303px;">Studies among the Tenements of New York - </span><span style="font-family: Arial, Helvetica, sans-serif;">New York: Charles Scribner's Sons - 1890</span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: Arial, Helvetica, sans-serif;">[6] </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">Halliday, Paul et al - excerpt from TATE modern ‘Urban Encounters - Routes and transitions - United Kingdom: Tate Modern - 2013 - Annual Conference</span></span><br />
<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;"><br /></span></span>
<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[7] </span><span style="background-color: white; color: #252525; font-family: sans-serif; line-height: 18.9000015258789px;">Zox-Weaver, Annalisa - "Quote from Gisele Freund." Encyclopedia of Twentieth-Century Photography - United Kingdom: </span><span style="background-color: white; color: #333333; font-family: Arial, sans-serif; line-height: 19px;">Routledge; 1st edition - 2005</span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[8] </span><span style="font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">Walsham, Alexandra - The Reformation of the Landscape; Religion, Identity, and Memory in Early Modern Britain and Ireland - United Kingdom: Oxford University Press, 2011,</span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: Arial, Helvetica, sans-serif; line-height: 12.6000003814697px;">[9] Nora, Pierre - Between Memory and History: L<span style="background-color: white;">es Lieux de Memoire - U.S.A: University of California Press - Representations - </span></span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 14.7719993591309px;">No. 26, Special Issue: Memory and Counter-Memory (Spring, 1989), pp. 7-24</span></span></div>
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<span style="font-size: xx-small;"><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 14.7719993591309px;">[10] Scott Brown, Denise - </span><span style="background-color: white; color: #252525; font-family: Arial, Helvetica, sans-serif; line-height: 21px;">A View from the Campidoglio: Selected Essays, 1953–1984,</span><span style="background-color: white; color: #252525; font-family: Arial, Helvetica, sans-serif; line-height: 21px;"> (with Robert Venturi), New York: Harper & Row, 1984</span></span></div>
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Kevin O'Brienhttp://www.blogger.com/profile/18016992057485366629noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-52533373021449112162015-05-15T18:35:00.001+01:002015-05-15T18:42:36.027+01:00<div class="MsoNoSpacing">
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;"><span style="font-size: large;">Space perception and communication: the architect-flâneur</span><o:p></o:p></span></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The aim of the project was to
rediscover the city through photography. People move through the city from A to
B to achieve a specific goal. The way they move through the city becomes a
routine. They have become familiar with the space, they don’t notice anything
new. The method of the flâneur allows the people of the city to rediscover the
spaces in the city that are familiar to them. This essay will further
investigate the potential of the architect-flâneur in site analysis and design
communication.</span></span></div>
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<b><span style="font-size: 12pt;">Flâneurs<o:p></o:p></span></b></div>
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<span style="font-family: inherit;"><span style="background: white; font-size: 12pt;">’</span><i style="-webkit-text-stroke-color: rgb(50, 51, 51);">Flâneurs don’t have any practical goals in mind, aren’t walking to get something, or to go somewhere. What flâneurs are doing is looking. Opening their eyes and ears to the scene around them, wondering about the lives of those they pass, constructing narratives about the houses, eavesdropping on conversations, studying how people dress and street life in general. Flâneurs relish what they discern and discover.’</i><span style="-webkit-text-stroke-color: rgb(50, 51, 51);"> -</span> <span style="background: white; font-size: 12pt;">(<a href="file:///C:/Users/Arwin%20Hidding/Documents/Space%20perception%20and%20communication%20flaneurs.docx#_ENREF_3" title="Fletcher, 2001 #10"><span style="color: windowtext; text-decoration: none;">Fletcher, 2001</span></a>)</span><span style="background: white; font-size: 12pt;">. In other words, the flâneur is an observer.</span></span></div>
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Objectivity <o:p></o:p></span></span></b></div>
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<span style="font-family: inherit;"><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Every person has a unique
world view due to the different life experiences and interests. In psychoanalytic
psychology the </span><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Rorschac</span>h ink spots are used to
interpret personality.<span style="background: white;"> According to R. Archer
the “<i>distinct methods of assessment
provide largely unique information about a person's personality and functioning</i>“</span><!--[if supportFields]><span
style='font-size:12.0pt;mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin;
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<EndNote><Cite><Author>Archer</Author><Year>2001</Year><RecNum>11</RecNum><Pages>487</Pages><DisplayText>(Archer
&amp; Meyer, 2001, p. 487)</DisplayText><record><rec-number>11</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">11</key></foreign-keys><ref-type
name="Electronic Article">43</ref-type><contributors><authors><author>Robert
P. Archer</author><author>Gregory J.
Meyer</author></authors></contributors><titles><title>The
Hard Science of Rorschach Research: What Do We Know and Where Do We Go?
</title><secondary-title>Psychological
Assessment</secondary-title></titles><periodical><full-title>Psychological
Assessment</full-title></periodical><pages>486-502</pages><volume>Vol.
13</volume><number>No.
4</number><dates><year>2001</year></dates><publisher>The
American Psychological Association</publisher><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span></span><![endif]--><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">(<a href="file:///C:/Users/Arwin%20Hidding/Documents/Space%20perception%20and%20communication%20flaneurs.docx#_ENREF_1" title="Archer, 2001 #11"><span style="color: windowtext; text-decoration: none; text-underline: none;">Archer & Meyer, 2001, p. 487</span></a>)</span><!--[if supportFields]><span
style='font-size:12.0pt;mso-bidi-font-family:Calibri;mso-bidi-theme-font:minor-latin;
background:white'><span style='mso-element:field-end'></span></span><![endif]--><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">. That means that the test subjects who are being analyzed
provide mostly unique interpretations of the ink spots. This infers a unique
and highly personal interpretation of visual information in general. If most
people provide different interpretations of an ink spot, they will also have
different interpretations of other textures, colors, materials, two dimensional
images or three dimensional spaces. This implies that every flâneur has a
different and unique way of seeing the world. <o:p></o:p></span></span></div>
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The flâneur as a photographer<o:p></o:p></span></span></b></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">When the flâneur is
photographing an object of interest, the three dimensional space is captured in
two dimensional photographs. When the three dimensional object is translated into
two dimensions, information is lost. The information that is captured in the
two dimensional images dependents on several factors.</span></span></div>
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<span style="font-family: inherit;"><b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The position of the photographer </span></b><b><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> <o:p></o:p></span></b></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The object of photography is three dimensional.
When two-dimensional images are taken of the three-dimensional object, an infinite
number of images would be required to capture the 3D model fully. Each image
only captures part of the 3D space, but a collection of images will
approximates the 3D object. <o:p></o:p></span></span></div>
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<b><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Time<o:p></o:p></span></span></b></div>
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<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">When the 3D object is translated to 2D images
the aspect of time is captured in the images. Every photograph is a record of a
specific moment in time and space. It is a factor that will influence the way
the space in perceived in the photographs. The day-night cycle is a significant
factor in the way photographs are interpreted. Also the position of the people,
cars, trees, birds, people, weather, etc. in the space is never the same twice.
They form an ever changing composition that will influence the way the space is
understood. <o:p></o:p></span></span></div>
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<b><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Capturing
the essence<o:p></o:p></span></span></b></div>
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<span style="font-family: inherit;"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The goal therefore of
the flâneur is not to fully record all aspects of the environment but it is to try
and capture the essence of the space, its character and atmosphere and the way
it is used. </span><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Every photograph captures a fragment
of the essence, but a collection of images will approximate the whole atmosphere
or experience of the space. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The essence that is captured in the
photographs of the flâneur is the way the flâneur sees the space. It can be
very difficult to communicate the essence of a space in words. When the flâneur
has captured the personal interpretation of the space in photographs,
communicating the exact personal interpretation becomes plausible. <o:p></o:p></span></span></div>
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Book format<o:p></o:p></span></span></b></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The photographs taken by the flâneur
are presented in a book format. The book format has several advantages. The
book format will ensure that a sufficient number of images can be used to
approximate the essence of the space.</span></span><br />
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Narrative construction <o:p></o:p></span></span></b></div>
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<span style="font-family: inherit;"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The
J. Paul Getty Museum states about William Eggleston’s work: ’<i>monumentalize
everyday subjects, everything is equally important; every detail deserves
attention.</i>’</span><!--[if supportFields]><span style='font-size:12.0pt;
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ADDIN EN.CITE <EndNote><Cite><Year>2015</Year><RecNum>13</RecNum><DisplayText>(&quot;The
J. Paul Getty Museum,&quot;
2015)</DisplayText><record><rec-number>13</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">13</key></foreign-keys><ref-type
name="Web
Page">12</ref-type><contributors></contributors><titles><title>The
J. Paul Getty Museum</title><secondary-title>William
Eggleston</secondary-title></titles><volume>2015</volume><number>15-5</number><dates><year>2015</year></dates><urls><related-urls><url>www.getty.edu</url></related-urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span></span><![endif]--><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">(<a href="file:///C:/Users/Arwin%20Hidding/Documents/Space%20perception%20and%20communication%20flaneurs.docx#_ENREF_4" title=", 2015 #13"><span style="color: windowtext; text-decoration: none; text-underline: none;">"The J. Paul Getty Museum," 2015</span></a>)</span><!--[if supportFields]><span
style='font-size:12.0pt;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:
Calibri;mso-bidi-theme-font:minor-latin'><span style='mso-element:field-end'></span></span><![endif]--><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> His color film photographs capture
’democratically’ unspectacular events of our everyday life. A storyline is
constructed in the way the images are arranged in his book ’Los Alamos’</span><!--[if supportFields]><span
style='font-size:12.0pt;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:
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<EndNote><Cite><Author>Eggleston</Author><Year>2003</Year><RecNum>12</RecNum><DisplayText>(Eggleston,
2003)</DisplayText><record><rec-number>12</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">12</key></foreign-keys><ref-type
name="Book">6</ref-type><contributors><authors><author>William
Eggleston</author></authors></contributors><titles><title>Los
Alamos</title></titles><dates><year>2003</year></dates><pub-location>New
York</pub-location><publisher>Scalo
Publishers</publisher><urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span></span><![endif]--><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">(<a href="file:///C:/Users/Arwin%20Hidding/Documents/Space%20perception%20and%20communication%20flaneurs.docx#_ENREF_2" title="Eggleston, 2003 #12"><span style="color: windowtext; text-decoration: none; text-underline: none;">Eggleston, 2003</span></a>)</span><!--[if supportFields]><span
style='font-size:12.0pt;mso-fareast-font-family:"Times New Roman";mso-bidi-font-family:
Calibri;mso-bidi-theme-font:minor-latin'><span style='mso-element:field-end'></span></span><![endif]--><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">. The composition, activities or difference
in time between both images, suggests a relationship between the two. The mostly
fictional relationship can however strengthen the essence of the space, it can
capture the atmosphere or the way the space is perceived. <o:p></o:p></span></span></div>
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<b><span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Architecture<o:p></o:p></span></span></b></div>
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<span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Architects, like everyone else, have a
personal and unique way of looking at the world. The interpretation of a site
and the resulting design will be different from every other architect. A design
is a personal statement and it dependents on the way the architect sees the
world.<o:p></o:p></span></span></div>
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<b><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Site analysis<o:p></o:p></span></span></b><br />
<b><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;"><br /></span></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">In order to make a design for a
building the context has to be understood. The site analysis is a key factor to
the design process and will greatly influence the design. The goal of the site
analysis is to build a comprehensive understanding of the site. The architect who is analyzing the site is
there with a goal in mind. The flâneur who is just observing might see the
space differently. When the architect visits the site for the first time, the
architect should behave as a flâneur, without a predetermined notion of what
the space should be like. It might help the architect in understanding the
space more objectively and it might generate a better understanding of the
essence of the space. The photographs that the architect-flâneur takes will
communicate with the client the way the architect sees the space. As a method
for site analysis the approach of the architect-flâneur could be very suitable.<o:p></o:p></span></span></div>
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<b><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Design communication<o:p></o:p></span></span></b><br />
<b><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;"><br /></span></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The architect traditionally
communicates the design trough 2D drawings, such as floor plans, sections,
elevations, details. Drawings or renderings of the building are sometimes added
to show what the building will look like. Clients might have a hard time
reading the technical drawings and it could be difficult for the client to
understand the building as it exists in the mind of the architect. If 3D renders
or drawings are added, they will give an impression what the building will look
like, but only from a one point of view and during one moment in time. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">The architect-flâneur approach has
potential in communicating the design to the client. The book tries to capture
the whole essence of the building in the way it is used, perceived and feels.
The book should contain rendered or hand drawn fragments of the building that capture
the essence. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">Relating two images together in the
book will suggest narratives and will strengthen the atmosphere or it character.
The images could correspond to different times of the day, inside and outside
spaces, the way light enters the building during the day, the way the users
could use certain spaces. Or small fragments that give a good understanding of
the design. This will ensure that the essence of the design can be understood
by the client. The client can compare his expectations to the architect’s
vision. The book could be used as a way to communicate those abstract aspects
of design that are hard to capture in words like atmosphere or the character of
the building. <o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><a href="http://3.bp.blogspot.com/-Jl5Xw5THiAg/VVYtmwl6CRI/AAAAAAAAA7M/OxQZr6AuH4o/s1600/reflections%2Bbus%2B5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="http://3.bp.blogspot.com/-Jl5Xw5THiAg/VVYtmwl6CRI/AAAAAAAAA7M/OxQZr6AuH4o/s400/reflections%2Bbus%2B5.jpg" width="400" /></a></span></div>
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<span style="background: white; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p><span style="font-family: inherit;"> </span></o:p></span><span style="text-indent: -48px;">Arwin Hidding</span></div>
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<b><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: inherit;">References:</span></span></b></div>
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<a href="https://www.blogger.com/null" name="_ENREF_1" style="font-family: inherit;">Archer, R. P., &
Meyer, G. J. (2001). The Hard Science of Rorschach Research: What Do We Know
and Where Do We Go? . <i>Psychological
Assessment, Vol. 13</i>(No. 4), 486-502.</a></div>
<div class="MsoNoSpacing" style="margin-left: .5in; text-indent: -.5in;">
<span style="font-family: inherit;"><a href="https://www.blogger.com/null" name="_ENREF_2">Eggleston, W. (2003). <i>Los Alamos</i>.
New York: Scalo Publishers.</a><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in; text-indent: -.5in;">
<span style="font-family: inherit;"><a href="https://www.blogger.com/null" name="_ENREF_3">Fletcher, A. (2001). <i>The Art of
Looking Sideways</i>. London: Phaidon Press.</a><o:p></o:p></span></div>
<div class="MsoNoSpacing" style="margin-left: .5in; text-indent: -.5in;">
<span style="font-family: inherit;"><a href="https://www.blogger.com/null" name="_ENREF_4">The J. Paul Getty Museum. (2015). <i>William
Eggleston.</i> Retrieved 15-5, 2015,
from </a><a href="http://www.getty.edu/">www.getty.edu</a></span></div>
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Anonymoushttp://www.blogger.com/profile/11087978089088916117noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-24136638796679333852015-05-15T17:00:00.000+01:002015-05-15T17:00:06.235+01:00 A Reflection<h2 style="line-height: 200%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small; line-height: 200%;">Views of the City</span></h2>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;"> Our
project is concerned with both looking up and looking down on Grafton street,
significant on this street where shop fronts and advertising are composed to
streamline the view to one level. This is not necessarily a commentary of this
particular street, but a relevant inquiry into how we see Dublin city and other
cities today.<o:p></o:p></span><br />
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<a href="http://1.bp.blogspot.com/-naJ-Z5qSo4c/VVXHUlsJBMI/AAAAAAAAAVk/hs5enL98F80/s1600/Screen%2BShot%2B2015-05-12%2Bat%2B10.16.35.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="320" src="http://1.bp.blogspot.com/-naJ-Z5qSo4c/VVXHUlsJBMI/AAAAAAAAAVk/hs5enL98F80/s320/Screen%2BShot%2B2015-05-12%2Bat%2B10.16.35.png" width="276" /></span></a><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;"></span><br />
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<div style="font-size: small; text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;"><span style="line-height: 200%;"><i> Stills from footage looking up and down</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;">
<div style="text-align: left;">
<span style="line-height: 200%;">The
intention of the project was to question the city, to expand our knowledge of
it and to show it in the form of a composed view from which the observer can
procure his or her own ideas. The challenge of composing a view is where to
begin. Kevin Lynch, in his book </span><a href="http://www.zzpudnz.hr/LinkClick.aspx?fileticket=TcHDzHuLw7s%3D&tabid=506" style="line-height: 200%;" target="_blank">'Image of the City' </a><span style="line-height: 200%;">alludes to our comfort on a
street; “We are supported by the presence of others and by special way-finding
devices: maps, street numbers, route signs, bus placards. But let the mishap of
disorientation once occur, and the sense of anxiety and even terror that
accompanies it reveals to us how closely it is linked to out sense of balance
and well-being” </span><sup style="line-height: 200%;">1</sup><span style="line-height: 200%;">. The views we have chosen to bring together are disorientating,
as is the way we have decided to show it, by projecting on to the ceiling. The
idea of challenging the viewer comes both by disorientating them and giving
them views, which are abstract, where the only direction is that which the
camera decides. In this sense, while the view may be out of the comfort zone of
the observer, they are still being carried and shown the way by the stream of
video.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;"> John
Berger reminds us in <a href="http://waysofseeingwaysofseeing.com/ways-of-seeing-john-berger-5.7.pdf" target="_blank">'Ways of Seeing' </a>that “Seeing comes before words, the child looks and
recognises before it speaks” <sup>2 </sup>It was in two views which only an
infant is used to perceiving which we thought could best illustrate our
question to the city. It forces the observer back into a state of infancy,
being carried through the street. Looking up from a height of just under a
meter, as if being pushed in a pram, and an exaggerated piggyback on the
shoulders of a giant, looking down from a height of five metres. This
defamiliarization is not a new technique. In the story <a href="http://www.lrgaf.org/training/kholstomer.htm" target="_blank">Kholstomer</a> (the story of
a horse) by Leo Tolstoy (1886) <sup>3</sup>, it shows the human world from the viewpoint
of a horse, exposing the irrationalities of human convention. It is these
conventions that our project may begin to question. Without the shop fronts in
view we begin to further question our habitation of the street.<o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-FFKJGwkmHEo/VVXLIcZFhII/AAAAAAAAAV4/NYvUt034gqE/s1600/Screen%2BShot%2B2015-05-15%2Bat%2B11.23.27.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="305" src="http://1.bp.blogspot.com/-FFKJGwkmHEo/VVXLIcZFhII/AAAAAAAAAV4/NYvUt034gqE/s640/Screen%2BShot%2B2015-05-15%2Bat%2B11.23.27.png" width="640" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small; line-height: 200%;"><i>Grafton Street looking up</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 200%;"> Ed
Ruscha’s “</span><a href="https://www.youtube.com/watch?v=gbJDfunYPi8" style="line-height: 200%;" target="_blank">Every building on sunset strip 1966</a><span style="line-height: 200%;">” </span><sup style="line-height: 200%;">4</sup><span style="line-height: 200%;"> has both similarities
and contradictions to our project on Grafton Street. Ruscha takes single
elevation photos from a moving truck, sticking them together, with no other
reason than to show what is currently there. The repercussions of his work,
then and today, showed the viewer a moment in time. It disseminates the social,
economic and culture of the period. We are presenting two views which are
unfamiliar on this street. What we show is the background to what the viewer
usually sees on the street. Our interest in this says something about where and
what we were pushed towards in this project. It is a disposition away from the
commercial, from the ordinary, which we found a need to communicate.</span></span><br />
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<a href="http://3.bp.blogspot.com/-OFhVMu4FsEc/VVYMDNFPglI/AAAAAAAAAWc/sN_Ep-OMVLQ/s1600/Screen%2BShot%2B2015-05-15%2Bat%2B10.41.15.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="403" src="http://3.bp.blogspot.com/-OFhVMu4FsEc/VVYMDNFPglI/AAAAAAAAAWc/sN_Ep-OMVLQ/s640/Screen%2BShot%2B2015-05-15%2Bat%2B10.41.15.png" width="640" /></a></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 32px;"><span style="font-size: x-small;"><i>Grafton Street looking down</i></span></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 32px;"><span style="font-size: x-small;"><i><br /></i></span></span></div>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 200%;"> The
view questions our relationship with ground and sky on this enclosed and narrow
street. In one sense it longs to soar above the buildings and out of the built
environment. The other, looking down, is more inquisitive as to the built
environment. The breaks in granite paving, filled with tar, or the milieu of
red brick ground cover, displaced or skewed, give us a sense of inhabitation
and history. These images from the video remind us of </span><a href="http://www.andreasgefeller.com/" style="line-height: 200%;" target="_blank">Andreas Geffellars </a><sup style="line-height: 200%;">5</sup><span style="line-height: 200%;">
work, which takes the unfamiliar view, the unpopulated view, yet one with
memory of inhabitation and shows it to us in stunning detail. It is inquisitive
of both human habitation and the left overs of habitation. Geffelars photographs,
while becoming about human habitation, rarely has people in them, where our
video has people, many of whom do not notice they are being filmed. This
provokes a sense of surveillance. </span><a href="http://www.davidrokeby.com/watch.html" style="line-height: 200%;" target="_blank">David Rokeby</a><span style="line-height: 200%;"> </span><sup style="line-height: 200%;">6 </sup><span style="line-height: 200%;">talks about the
power of these technologies and visual artists in his essays, bringing up the
ethical side, where “subjectivity and control” are the main issues. He hints at
the idea that we may be “in danger of becoming apologists for industrial,
corporate, and institutional uses of these technologies.”</span></span></div>
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<a href="http://2.bp.blogspot.com/-1dxvGpPMbiY/VVXGH94YMaI/AAAAAAAAAVU/h_ZBERfq-xg/s1600/above.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="245" src="http://2.bp.blogspot.com/-1dxvGpPMbiY/VVXGH94YMaI/AAAAAAAAAVU/h_ZBERfq-xg/s640/above.jpg" width="640" /></span></a></div>
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<a href="http://1.bp.blogspot.com/-owatuKzpvbI/VVXGupDDFJI/AAAAAAAAAVc/ZirN2PrtbJs/s1600/Untitled-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="84" src="http://1.bp.blogspot.com/-owatuKzpvbI/VVXGupDDFJI/AAAAAAAAAVc/ZirN2PrtbJs/s640/Untitled-1.jpg" width="640" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 200%;"> We
are so rehearsed in seeing Grafton Street from eye level, that when it is shown
in this extreme way it becomes ever more interesting. It adds a depth to the layers
which the viewer already understands. What our projection will physically show
are the tops of buildings and the ground cover on Grafton street. We see people
move past these views from uncommon angles, yet it still shows occupancy. When
we see people occupying the street it does give us a familiar starting point.
It points to this view as archive, and survey. <o:p></o:p></span><br />
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<span style="line-height: 200%; text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> To
exhibit our work, we will use the main entrance hall in the Richview house.
Including the bicycle which we used to film both views was an essential part of
our thoughts for the exhibition. By building a frame to hold both the bicycle
and projector, where both depend on each other, it shows reference to both
method and exhibition in the same piece. A frame holds the bicycle steady,
while also holding a perforated box, which carries the projector. The bicycle
counterwights the frame, allowing the perforated box to be suspended between
two timber elements and appear to float. The projector plays the videos on a
split screen, which will loop approx. every 10 mintues.</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lynch, Kevin. <i style="mso-bidi-font-style: normal;">The
Image of the City. </i>London, The MIT Press, 1960<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Berger, John.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Ways of seeing. </i>London, Penguin, 1972<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tolstoy, Leo<i style="mso-bidi-font-style: normal;">.
Khlolstomer</i>. Montana, Kessinger Publishing, 2005<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ruscha, Ed. <i style="mso-bidi-font-style: normal;">Every
Building on Sunset Strip</i>.<span style="mso-spacerun: yes;"> </span>1966<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Geffellar,
Andreas. <i style="mso-bidi-font-style: normal;">Supervisions. </i>2009-2013<o:p></o:p></span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Rokeby,
David. </span><i style="mso-bidi-font-style: normal;">Watch</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">. 1995</span></div>
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Anonymoushttp://www.blogger.com/profile/01393590732761900345noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-91896337493655662912015-05-15T13:30:00.002+01:002015-05-15T13:30:28.017+01:00<div class="page" title="Page 1">
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<span style="color: rgb(100.000000%, 14.913140%, 0.000000%); font-family: 'Arial'; font-size: 13.000000pt; font-weight: 700;">RE:DISCOVER THE CITY</span><span style="font-family: 'ArialMT'; font-size: 11.000000pt;">, </span><span style="font-family: 'Arial'; font-size: 10.000000pt; font-style: italic;">the modern flaneur
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<span style="font-family: 'Arial'; font-size: 10.000000pt; font-style: italic;">Christina Kerr</span><br />
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">The objective of the instillation was to find a new way of observing the city, aiming to discover new
elements that one may not have seen or thought before. Originally the concept was to create a
large scale instillation that involved a distorted space of the city itself, allowing the viewer to
wander through the space using all their senses.The aim was to create an experience of the city
one never imagined. Images would fill the space taken from the point of view of a wanderer,
without restriction and of any element that the photographer desired. One hoped the images would
add to the sense of unfamiliarity of a place one knows so well.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">Many writers and artists where fascinated by the effects of the city on its inhabitants and how the
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">people use the spaces. Fletcher describes the phenomenon of the flâneur and Charles Baudelaire
</span><br />
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">also wrote about the city wanderer. But what about us as the viewers of the twenty-first century?
Are we still into the city? These questions became key in how we thought about our project. As
fletcher describes,
</span><br />
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'Arial'; font-size: 11.000000pt; font-style: italic;">Flâneurs don’t have any practical goals in mind, aren’t walking to get something, or to go
somewhere. What flâneurs are doing is looking. Opening their eyes and ears to the scene
around them, wondering about the lives of those they pass, constructing narratives about the
houses, eavesdropping on conversations, studying how people dress and street life in general.
Flâneurs relish what they discern and discover.</span><span style="font-family: 'Arial'; font-size: 7.000000pt; font-style: italic; vertical-align: 3.000000pt;">1
</span><br />
<span style="font-family: 'Arial'; font-size: 7.000000pt; font-style: italic; vertical-align: 3.000000pt;"><br /></span>
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">These words really describe the essence of our work. We took the images without force or goal,
really looking at the details of what makes up the experience of the city space. Constructing
narratives was a key aspect we wished to focus on. One wondered about the lives of the city and
how we could create stories within the landscape using images. After many discussions it was
decided that the project would involve a book with a series of photos from the point of view of a
flaneur, allowing these untold stories about the life of the city to be created. </span><br />
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<span style="font-family: 'ArialMT'; font-size: 9.000000pt;"><i>Book Placed in Exhibition Space
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">I studied the work of Richard Misrach, in particular his series of photos called ‘On the beach’. In
this series of images, taken in Hawaii, he removes all reference to the horizon and sky, recording
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">people immersed in the idyllic environment. He allows the viewer to create ideas about the
environment and human interaction, the details are ambiguous. Its hard to distinguish if the figures
are relaxed or drained of life. By studying this work it helped encourage the idea that stories can be
created from a series of photos placed together. Photographs can create a better understanding of
the environment and human existence.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">The project focuses on Findlater Place, a cleft place in Dublin 1, dividing different functions from
each other. It can be seen as a transition space with in the city. The space is used in different ways
because of different functions: Bord Pleannala is next to the Best Western Academy Plaza Hotel
and DIT, College of Catering faces the St. Thomas Church. All these diverse functions attract
different people, who usually would not congregate in the same space. The variety of people and
activities in this one location enabled a diverse collection of images for the project. </span><br />
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<a href="http://1.bp.blogspot.com/-4iE8qZxiD2s/VVXib2zV7RI/AAAAAAAAAPo/Wh-BqetFh64/s1600/map1-1000_trial.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-4iE8qZxiD2s/VVXib2zV7RI/AAAAAAAAAPo/Wh-BqetFh64/s320/map1-1000_trial.jpg" width="226" /></a></div>
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<span style="font-family: 'Arial'; font-size: 10.000000pt; font-style: italic;">Location of site and path of photographers
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">The method of taking the photos involved each of us going to the space on Findlater place,
individually and at different times. Each individual has a different approach to the city; what
interests them, how they study form, light and shade, and how they view architecture and their
approach to the design process. Alan Fletcher said,
</span><br />
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;"><br /></span>
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;"><i>Goethe thought thinking more interesting than knowing, but not so interesting as looking.
Certainly when confronted by a boring conversation my concentration is inclined to fold its
arms and divert itself by observing the visual dialogues of my surroundings: the chit-chat
between dappled sunlight and a chintz fabric, the point of contact between the edge of a
near chair and the silhouette of a far lampshade, the dissolving outline of a face as it
passes in front of a bright light. As Georgia O’Keeffe pointed out: ‘Nobody sees a flower –
really – it is so small – we haven’t time – and to see takes time, like to have a friend takes
time.’</i> </span><span style="font-family: 'ArialMT'; font-size: 7.000000pt; vertical-align: 3.000000pt;">2
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<span style="font-family: 'ArialMT'; font-size: 7.000000pt; vertical-align: 3.000000pt;"><br /></span>
<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">This idea is true of our photographs. By having four points of view we enhance the experience of
the images due to a multitude of interests, and by spending more time observing the space one
starts to see so much more. This form of taking the photos was key to our project and insured a
diverse range of images. There was no restriction on the requirement of the photos, they could be
taken by any camera and of anything. This all added to the experience of a Flaneur.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">The writer was the one to choose, pair and order the images. In a sense they were the true flaneur.
The images are laid out to tell a story that otherwise would be forgotten. In choosing a book one
tries to immerse the viewer within the city landscape, allowing them to decide the stories inside.
There are no words associated with the images either, again enabling the viewer to be the flaneur
within this city space.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">As a group we were inspired by the work of William Eggleston. His colour film photographs capture
‘democratically’ unspectacular events of our everyday life. In his book ‘Los Alamos’ Eggleston
suggests through the arrangement of different images stories can be found behind the images.
This is something we aimed to create with our project, taking everyday sightings and viewing them
in a different way through the presentation of a book. The J. Paul Getty Museum explains that
William Eggleston’s work “monumentalises everyday subjects, everything is equally important;
every detail deserves attention.” </span><span style="font-family: 'ArialMT'; font-size: 7.000000pt; vertical-align: 3.000000pt;">3 </span><br />
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">Beside each other these images try to evoke the idea of freedom and nature. On one side we have
a seagull, he is free to fly over the city, and observe the landscape from above without having to
interact with the spaces below. On the other side a man, he looks trapped in a space, perhaps
showing how it sometimes feels to live in a dense city landscape.</span><br />
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<span style="font-family: ArialMT; font-size: 11pt;">In these series of images it shows a man that one can only imagine is taking a break from a busy
work day, escaping the indoors for the sunshine filled lane. The sense of movement can be seen in
the images bringing life to an otherwise static environment.</span><span style="font-family: ArialMT; font-size: 11pt;"> </span></div>
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">These photos are paired to bring a sense of time to the flaneur. On the left a woman is holding a
suit bag, on the right is this the same suit bag, hours or days later? One can create a story of what
has happened over time.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">This way of working could be applied to design studio. Taking photos in this way enables one to
observe spaces one usually would not focus on. One returns many times and spends a lot longer
wandering through the space gaining more of an understanding of the life and character of the city.
One can find little moments of light and shade, and really begins to understand the form and
essence of the city. A new way of perceiving the space and events within the city encourage one to
rediscover the familiar surroundings. The city is more than just a transition space.
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<span style="font-family: 'ArialMT'; font-size: 11.000000pt;">Peter Brook said</span><span style="font-family: 'ArialMT'; font-size: 12.000000pt;">, </span><span style="font-family: 'ArialMT'; font-size: 11.000000pt;">“I can take any empty space and call it a bare stage. A man walks across this
empty space whilst someone else is watching him, and this is all that is needed for an act of
theatre to be engaged.”</span><span style="font-family: 'ArialMT'; font-size: 7.000000pt; vertical-align: 3.000000pt;">4 </span><span style="font-family: 'ArialMT'; font-size: 11.000000pt;">The modern Flaneur is creating theatre within the everyday city. </span><br />
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<span style="font-family: Arial;"><u><span style="font-size: xx-small;">Reference</span></u></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-size: xx-small;"><span style="font-family: Arial;">1.<b> </b></span><span style="font-family: ArialMT;">Alan Fletcher, </span><span style="font-family: Arial; font-style: italic;">The Art of Looking Sideways </span><span style="font-family: ArialMT;">(Phaidon Press: 2001)</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-size: xx-small;"><span style="font-family: ArialMT;">2. Bryony Quinn, “The Art of Looking Sideways,” </span><span style="font-family: Arial; font-style: italic;">It’s nice that</span><span style="font-family: ArialMT;">, August 25, 2011, http://www.itsnicethat.com/articles/the-</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;">art-of-looking-sideways
</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-family: ArialMT;"><span style="font-size: xx-small;">3. “William Eggleston.” The J. Paul Getty Museum. Last modified 2015. http://www.getty.edu/art/
collection/artists/1505/william-eggleston-american-born-1939/
</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-size: xx-small;"><span style="font-family: ArialMT;">4. Peter Brook, </span><span style="font-family: Arial; font-style: italic;">The Empty Space </span><span style="font-family: ArialMT;">(Penguin Modern Classics: 2008)</span></span><br />
<span style="font-size: xx-small;"><span style="font-family: ArialMT;"><br />
Bobby Seal, “Baudelaire, Benjamin and the Birth of the Flâneur,” </span><span style="font-family: Arial; font-style: italic;">Psychogeographic Review</span><span style="font-family: ArialMT;">, November 14, 2013, http://
</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;">psychogeographicreview.com/baudelaire-benjamin-and-the-birth-of-the-flaneur/</span></span><br />
<span style="font-family: ArialMT;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-size: xx-small;"><span style="font-family: ArialMT;">Martina Lauster, “Walter Benjamin's Myth of the “Flâneur.” </span><span style="font-family: Arial; font-style: italic;">The Modern Language Review </span><span style="font-family: ArialMT;">102, no. 1 (2007), 139-156
Simon Ford, </span><span style="font-family: Arial; font-style: italic;">The situationist international a user’s guide </span><span style="font-family: ArialMT;">(Black dog publishing: 2005) </span></span><br />
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Anonymoushttp://www.blogger.com/profile/17375735132972952779noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-64999615398383392432015-05-15T12:41:00.004+01:002015-05-15T13:18:50.392+01:00Dublin Portrait: Personal reflection.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-z53-IgNjILc/VVXU6yB3RxI/AAAAAAAAAC0/tEtO6EmtaW0/s1600/01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://3.bp.blogspot.com/-z53-IgNjILc/VVXU6yB3RxI/AAAAAAAAAC0/tEtO6EmtaW0/s640/01.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Camera with poster.</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">For 50 years Arthur Fields or the “man on bridge” as he was known photographed the people of
Dublin on the city’s main thoroughfare O’Connell street bridge. The photographs offered each individual a unique portrait but collectively they form a substantial survey of Dublin’s inhabitants.</span> <span style="color: #171c1d;">Inspired by the “man on bridge” we began the process by thinking about how we could compile </span><span style="color: #171c1d;">a human survey of Dublin in 2015</span>. Last semester a number of students had designed and built a custom camera using a WW1 lens from a surveillance aircraft. They used this camera to take
portraits of students and exhibited them within the school. Due to the nature of the lens the portraits have a unique and compelling quality. It also provides incredible macro details to large format
photographs. We began with the aim of using this camera within the city.</span><br />
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<tr><td style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; margin-left: auto; margin-right: auto;"><br /><br /><a href="http://3.bp.blogspot.com/-8EZD4RCYYH4/VVXYH_513BI/AAAAAAAAAD8/SmTZ41z4Vjg/s1600/PICS.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="150" src="http://3.bp.blogspot.com/-8EZD4RCYYH4/VVXYH_513BI/AAAAAAAAAD8/SmTZ41z4Vjg/s400/PICS.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Tests</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d; font-size: 12pt;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">After experimentation we arrived at what we felt was an optimum exposure time in external condi</span><span style="color: #171c1d;">tions. A 40 second exposure without using artificial light achieved what we felt was a good quality
</span><span style="color: #171c1d;">image. It became clear at the end of the project, however, that far more rigorous testing was required. The extremely sensitive nature of both the lens and the photographic paper as well as the
forever changing quality of external light make it a very challenging proposal. In order to achieve
</span><span style="color: #171c1d;">more developed images artificial light may be necessary. We altered the camera so that it would
</span><span style="color: #171c1d;">be easier to load and transport into the city. The loading process, while quite cumbersome and
time consuming, did add something to the project and made it feel more like an event. It also allowed people time to carefully consider the response to the question. The location we chose to
take the photographs was the GPO on O’Connell street. </span></span><br />
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<tr><td><a href="http://3.bp.blogspot.com/-QGYdD5oeAIg/VVXYfaYpMtI/AAAAAAAAAEE/4JcVNhRbDtM/s1600/05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" height="266" src="http://3.bp.blogspot.com/-QGYdD5oeAIg/VVXYfaYpMtI/AAAAAAAAAEE/4JcVNhRbDtM/s400/05.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: Arial, Helvetica, sans-serif;">Participant having his portrait taken.</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">This location was chosen as a reference to man on bridge but more importantly for its historical
<span style="color: #171c1d;">significance to the city and country. This turned out to be a very beneficial place for us to set up
as it offered an incredible number of interested passers by. The location </span></span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">seemed to also influence
</span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">peoples response to the question which was </span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif; font-style: italic;">“ what is your earliest memory of this place”</span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">. While
this question could have been interpreted as asking about Dublin, the country etc, many of the
Irish participants, and even tourists and other nationalities, answered the question with regards to
the GPO and delved into memories and stories about the Easter rising. The location is, therefore,
</span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">of the upmost importance in a project such as this one and it shows the subconscious influence
</span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">of the built environment around us. We placed the camera so that the background of each portrait
would be the column of the GPO’s portico. We hoped the camera would pick up the grain of the
</span><span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;">large columns adding significance and interest to the photographs.</span><br />
<span style="color: #171c1d; font-family: Arial, Helvetica, sans-serif;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">From the moment we set up the camera people eagerly approached us wanting to have their
photograph taken and to enquire about the project. It had initially been a concern that it would be
</span><span style="color: #171c1d;">difficult to get people to stop and agree to have their image taken but what we found was quite </span><span style="color: #171c1d;">the opposite. It became clear that by providing an inviting service which was both unusual and
interesting people approached us rather than the other way around. Having previously interviewed
</span><span style="color: #171c1d;">people on the street I found this method was far more beneficial in terms of gaining peoples at</span><span style="color: #171c1d;">tention and participation. It seemed more of an event than I had anticipated. Families wanted their
children photographed, several people asked for their photograph to be taken while they sat for
the portrait so as to record the event. I believe it was this eagerness to participate that led to the
open and lengthy dialogues that followed the portraits. A broad range of answers were given to
the question. Some people had only arrived in Dublin that day while others had been there their
whole lives. </span></span><span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;"><br /></span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">The images that were produced on the day were not of the quality we had hoped for. They did,
however, contain other more conceptual qualities. We chose to display the portraits of four people
in black frames at eye level. Each persons had their portrait and digital photograph framed with
their quote underneath. We chose to include the digital image to give a face to the quote which we
felt was important. We also believed it added depth and interest to the images as it captured the
moment these people had taken to have their portrait taken. These digital images, taken originally
as a record, were in themselves quite strong portraits. They captured the people as they concentrated in order to remain still. In these images the grain of the column of the GPO is visible as was
originally intended.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">I have gained a lot of knowledge in relation to both the technicalities of taking and producing
photographs and also different methods and ways of working. All three projects this year look at
space and try to understand it in another way. All of these projects were compiled within the same
small space but produce wholly different results. Our project is more emotive and subjective per-
haps than the others. However, they too are subjective in terms of what the photographer chose
to photograph, where when and how as well as how many times he photographs a certain theme
or scene and how it is organised in the book in what order etc. All of these things create, however
unintentional, a bias view towards the subject. Therefore it is important to use not only photography but all methods of research as a tool and not the totality of understanding towards a theme or
subject.
</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d; font-size: 12pt;"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">The course and semester in general have also forced me to focus on how I display and exhibit my
work. The details of the exhibition are vital to conveying the purpose of a project to a visitor. For us
we wanted to convey the idea of a survey of Dublin inhabitants and therefore we chose to combine
the three aspects of portrait, digital photograph and quote. Had the exhibition contained 8 portraits
from the custom camera as was originally intended it would have had a completely different feel
and understanding. It reinforces the importance of stepping back and looking at what you want to
convey and how you can enhance that message through exhibition. In conclusion the course has
</span><span style="color: #171c1d;">been of huge benefit in learning the technicalities of photography, understanding how to use pho</span><span style="color: #171c1d;">tography as a tool and in stepping away from your work and trying to examine it with a more pragmatic and critical eye. </span></span><br />
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<a href="http://2.bp.blogspot.com/-KF_g9FdL1K0/VVXhbcErY0I/AAAAAAAAAEg/7qlBVjvG1y8/s1600/book2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="540" src="http://2.bp.blogspot.com/-KF_g9FdL1K0/VVXhbcErY0I/AAAAAAAAAEg/7qlBVjvG1y8/s640/book2.jpg" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-lsWs3aNpsD8/VVXhb9_iUlI/AAAAAAAAAEk/CjEWU6lcysc/s1600/book3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="546" src="http://3.bp.blogspot.com/-lsWs3aNpsD8/VVXhb9_iUlI/AAAAAAAAAEk/CjEWU6lcysc/s640/book3.jpg" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-O5Ib7TnB7X8/VVXhdXZsL7I/AAAAAAAAAE0/NlaNrZh1XvM/s1600/book4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="548" src="http://3.bp.blogspot.com/-O5Ib7TnB7X8/VVXhdXZsL7I/AAAAAAAAAE0/NlaNrZh1XvM/s640/book4.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-_02-Fu0uohk/VVXhbt31IfI/AAAAAAAAAEs/092UsS9-b5s/s1600/book%26.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="547" src="http://2.bp.blogspot.com/-_02-Fu0uohk/VVXhbt31IfI/AAAAAAAAAEs/092UsS9-b5s/s640/book%26.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Booklet examples</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">I found this process of work very interesting and the idea of interacting with people in this way is
very appealing. There is a risk, however, to rely on peoples answers or opinions that they may
give in relation to any questions. There is a richness in this method but it should be used in combination with various other methods of research such as historical documents, census information,
silent observation etc. A site, building or space can never be completely understood but in order to
</span><span style="color: #171c1d;">coherently re organise and alter something a sufficient investigation is needed in many areas. </span></span><br />
<span style="color: #171c1d; font-family: ArialMT; font-size: 12pt;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: #171c1d;">At its conclusion the project feels as if it is the first draft of a series of experimental shoots. The faint images have a ghostly character which seems to strongly reflect the nature of peoples memo</span><span style="color: #171c1d;">ries as they reach back into their minds. From this point the project could develop more as fine art than the original purpose of an urban survey. It could also be refined and developed to produce </span><span style="color: #171c1d;">more detailed portraits serving the original intention.</span></span><br />
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<span style="color: #171c1d; font-weight: 700;"><span style="font-family: Arial, Helvetica, sans-serif;">Bibliography
</span></span><br />
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<span style="color: #171c1d;"><span style="font-family: Arial, Helvetica, sans-serif;">Fields, Arthur, Ciarán Deeney, David (Documentary producer) Clarke, and Man on Bridge Project.
Man on the bridge: The photos of Arthur Fields. Cork: The Collins Press, 2014.
</span></span><br />
<span style="color: #171c1d;"><span style="font-family: Arial, Helvetica, sans-serif;">Evans, Walker. Many Are Called: Subway Portraits. Yale : Yale University, 2004. </span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Exhibition</span></td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-55715267166046591522015-05-15T11:38:00.002+01:002015-05-15T11:49:06.711+01:00<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: Arial; font-size: 11px;">
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<b>flâneur: rediscover the city?</b></div>
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<i>’Then, quite apart from all those literary preoccupations, and without definite attachment to anything, suddenly a roof, a gleam of sunlight reflected from a stone, the smell of a road would make me stop still, to enjoy the special pleasure that each of them gave me, and also because they appeared to be concealing, beneath what my eyes could see, something which they invited me to approach and take from them, but which, despite all my efforts, I never managed to discover.’</i> Marcel Proust-Du Côté de chez Swann</div>
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In Walter Benjamin words Proust expresses his fascination and defends the ’<i>new Romantic conception of cityscapes</i>’.<span style="font-size: 8px;">[1]</span></div>
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Cities replaces the embraced beauty of natural landscapes in the perception of many novelists and writers, like Charles Baudelaire, Marcel Proust or Amédée Kermel. The flâneur becomes a leading figure in the 19th-20th century narratives of, mostly french, authors. He is defined as wanderer or idler, who is observer, but at the same time is a part of the events occurring in city life. Baudelaire compares the need of the flâneur to belong to the crowd to birds who need air. The flâneur experiences and dreams in the city by moving through the built environment.<span style="font-size: 8px;">[2]</span> Furthermore Baudelaire’s understanding of the flâneur was a city man ’<i>driven out of the private and into the public by his own search of meaning</i>’.<span style="font-size: 8px;">[3] </span> This suggests that the flâneur wanders around in order to search for his own identity and that the city acts as a catalyst in this process.</div>
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<span style="-webkit-text-stroke-width: initial; font-family: Arial; font-size: 8px;">Lee Friedlander</span></div>
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It is interesting to mention that the theme of the flâneur was not only related to urbanism, literature or sociology, but can be found in fine arts. Lee Friedlander, an American photographer, is fascinated by cityscape and in which environment we live in as individuals. Moreover ’<i>he is a part of the flow that he records</i>’.<span style="font-size: 8px;">[4]</span></div>
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Friedlander captures the things, which attracts him as a viewer the most and exposes it in his photographs.Through his work he tries to see the city in a new perspective by showing the beauty and sharpness of our immediate surrounding.</div>
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Many of his works focuses on aspects like reflections of glass and objects or the superpositions of people, who are unaware of each other, but are connected to each other through photography. So how significant is it to discuss the importance of the flâneur in our contemporary society?</div>
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Townspeople tend to use the same paths and roads in order to arrive at school or at work or to the grocery shop. The city life is featured as restless, multicultural inhabitants offer diverse life styles and the composition of old and new urban structures foster the discussion about the historical and modern identity of a city. But how intense do the inhabitants and the observers look at the cityscape’s in its entity?</div>
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Our group, Lucy, Arwin, Christina and I, therefore thought about combining this thought with the desire to define the modern flâneur of the 21st century. The theme of this semester 'Photography and the City' offers to argue the role of the photographer in the city and how to understand it through a two-dimensional effigy.</div>
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Hence we want to investigate our idea by elaborating a specific aim: to rediscover the city through photography. We want to create a new platform for the local people, who know already their city, by showing them new sides of their city. Photography acts as a medium in order to capture ’<i>everything</i>’; pictures in different scales present the unseen and unnoticed details or movements, which happen all at the same time. Every picture is unique and its composition reveals the hidden synchronistically movements and facts of the location. A new connection is made with people, who perhaps don’t know each other in real life, but at the photograph they are united and seem to express a story related at a specific time. Another aspect of the photographic language is also, how the photographer interacts in the scene.The dialectic relationship of the photographer, who is himself a flâneur and simultaneously captures other flâneurs and the direct surrounding.</div>
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Kohei Yoshiyuki-The Park</div>
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A good example is Kohei Yoshiyuki’s project ’<i>The Park</i>’ (1979). The photographer breaks limits by ’creeping up on people’ in various parks in Tokyo. Yoshiyuki observes couples during sexual intercourse and reveals at the same time other voyeurs of the scene. It shows the reality of city life in its darkest hours and shows how the spectators of the scene want to become a part of the scenery. The photographer becomes one of them by capturing as an outsider this elusive moment. </div>
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With our project, we want to arise at the same time the question of how involved the photographer is himself as a flâneur and how captures other flâneurs’ perspectives.</div>
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Map of study area Findlater Place-Cathal Brugha Street (highlighted buildings shown in the photographs)</div>
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Which location would be the most suitable for the project? Which kind of camera is suitable for the pictures? All these questions have been important in order to define the focus and the way we want to interact as a flâneur-photographer.</div>
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Therefore we decided to choose Findlater Place-Cathal Brugha Street as our focus.</div>
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The site is featured by different functions like Bord Pleannala, St. Thomas Church, DIT College and Catering and the Living Room, a well visited pub. It is one of many side streets of O’Connell Street, which divulges unexpected moments of the city. Mostly users of the different buildings or people using the bus station are traveling along this place. The place is being used differently throughout the day: different users come at different times.</div>
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Our goal is to compress through photography the different moments and people using the space. The captured moment should be a tool in order to feel the different perspectives of every flâneur. We decided to use digital cameras like Nikon D200 with a Nikkor 80-200 mm F2.8 lens and a Canon Powershot A3300 IS. They enable different ways of focus and capture with high quality small details.</div>
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<span style="-webkit-text-stroke-width: initial; font-size: 8px;">William Eggleston-Los Alamos Revisited</span></div>
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After exploring what we want to create, we thought about how to exhibit our work. During the second half of the semester, we thought about variations of framing individual pictures and to arrange them on the wall. Another idea was to create through many individual images a collage like panorama picture leaned on David Hockney’s work. </div>
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We opt for coloured photographs inspired by William Eggleston’s work.The American photographer is well known for his colour film images and documents artifacts from the American everyday life and creates storyboards rich in contrast like it is kept in record in ’<i>Los Alamos revisited</i>’. In this book, his images have been rearranged and stories have been set up through the page composition. Therefore we chose the book format in order to create and compose unique photographic compositions. This option enables the viewer to to filter and to take time for creating his own stories through the photographs. The book allows the viewer of the photographs to travel in time with the people in the images.</div>
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<span style="-webkit-text-stroke-width: initial; font-size: 8px;">From our project</span></div>
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This project has been challenging in a way how to learn to perceive the familiar urban districts in a new way. As architects it is essential to understand space as a multilayered platform and we need to see how people interact in this space. The architect, the photographer, the sociologist etc. have to become themselves flâneur and need to capture several perspectives in one image. The connection of architecture and photography is extremely precious as both can act as a supplemental resource to each other. Photography enables to retain specific moments, events and persons in time, to even freeze them in time. Hannah Arendt claims that public realm can <i>’survive the coming and going of the </i></div>
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<i>generations only to the extent that it appears in public’.</i><span style="font-size: 8px;">[5]</span><i> </i>These photographs make the motives in public realm eternal. Architecture in turn offers the space which captures photography and is a part of the external perception of space.</div>
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My own investigation Marlborough Street-Parnell Street (near study area)</div>
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It would be interesting to explore more possibilities of photographic tools in order to bring the project a step further. How would it be if the images were more saturated? Or everything would be rather black and white. There are many ways and possibilities to push the project.</div>
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Additionally we could try like Yoshiyuki to be more an active photographer in the flânerie scene, to be more active in the events of the city life. We have been silent spectators in order to highlight the events on the site. But how about bringing the photographer as a flâneur more consciously into the scene?</div>
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Nevertheless I think it is important to point out the learning process of this project. I have to say that by comparing my primary knowledge in photography with my present acquired knowledge, I learned to see photography even more as a way to examine the surrounding of a specific site. The longer you stay at a place the more you become yourself as flâneur and a participant of the space. </div>
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<i>-Asal Mohtashami</i></div>
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[1] Benjamin, Walter.<i> The Arcade Project</i>. New York: Belknap Press, 2002.</div>
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[2] Baudelaire, Charles. <i>The Painter of Modern Life</i>. New York: Da Capo Press, 1964.</div>
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[3] Tester, Keith. <i>The Flâneuse</i>. London: Routledge, 1994.</div>
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[4] “Lee Friedlander Captures the City’s Hustle and Flow.“ Last modified April 23, 2015.http://www.nytimes.com/2015/04/26/magazine/lee-friedlander-captures-the-citys-hustle-and-flow.html?_r=0.</div>
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[5] Arendt, Hannah. <i>The Human Condition</i>. London & Chicago: The University of Chicago Press, 1958.</div>
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Space Framedhttp://www.blogger.com/profile/00967245435786608105noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-26137024083717334132015-05-13T14:58:00.000+01:002015-05-13T15:04:14.743+01:00Individual Reflection about Dublin Portrait<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The ‘Dublin Portrait’ installation was set up in the Board Room in Richview. There were three main
elements: eight black frames on the wall with four quotes underneath, the large format custom-built
camera with a big sign stating “<span style="font-style: italic;">Get a unique portrait for free</span>”, and a booklet. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Installation in the Board Room, Richview </span></div>
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<span style="font-family: Calibri;">F</span><span style="font-family: Arial, Helvetica, sans-serif;">our people’s portraits are hung on the wall: Nicholas, Margot, Kathleen and Katie. For each of them,
there is a frame containing the developed and edited picture from the ‘old camera’, this picture is
quite blurred and a bit ghostly which lets the visitor come to their own interpretation. The second
frame contains a digital picture and the quote underneath is the answer the question “What is your
earliest memory of this place?”. With these elements, the visitor can have an idea, or make his own
idea, of these Dublin portraits. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: small;">Portrait of Margot </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The booklet is showing the entire collection of photographs and quotes as well as a documentation of
the process. After this description of the installation, I will try to explain why and how we developed
the project, as well as giving a critical reflection on it. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">In order to explore the concept of photography as means to survey the city, we proposed to draw a portraiture of Dublin by photographing its occupants today. After studying urban sociology at the
Architecture school of Nantes (France), I have been convinced that the people make and transform a space instead of a space makes and educates the people living in it. Thus, I believe there are two
main ways of studying people in space: one is observing the people from a distance and the other is engaging and interacting with people in the space. We chose to pursue the second option. We
proposed to act after <a href="http://www.manonbridge.ie/">Arthur Fields, the man on the bridge</a> who catalogued with his photographs the
people of Dublin from the 1930s to the 1980s. The pictures we wanted to take are individual portraits
but collectively there are an interesting record of the actual people of Dublin. A critic could be that
these portraits are random and obviously not exhaustive so they could show a wrong conceptionof the city today. We decided to emphasize this idea of subjectivity by recording a quote from each
person in order to try to share a part of the thoughts of the volunteers. To that idea, I can refer to
<a href="http://www.gerryandrews.com/">Gerry Andrews</a> I met in October, this photographer surveyed the <a href="http://www.gerryandrews.com/limerick-milk-market/">Limerick Milk Market in the 1970s</a>
showing portraits of people and their bad life conditions at that time. He associated his pictures with
what he calls a ‘back story’, because he always got to know the people before photographing them.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Our photographs were taken using a homebuilt camera with a WWI reconnaissance aircraft lens
which can provide interesting details to the large format photos. Returning to an old process to photograph was really new for me, I learned a lot about how a lens works, what is an exposure time, how
to develop the negatives... All what we forget using digital cameras nowadays.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Custom-built camera</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">We set up at the South
Pillar of the General Post Office portico, due to its historical significance and central location. We
were surprised by the positive response of the public, people were intrigued by what we were doing
and we had a diverse range of volunteers. The fact that these people were approaching us, instead of
us approaching them, made them share easily their memories. I think that was really an interesting
point : if you survey a site for a design project by stopping people and asking them questions about
the place, they are suspicious and less open to answer. With our camera, they approached us wanting
a photograph and by us giving them something, they were happy to give us their time and talk about
the place. That constitutes a process I would like to reiterate later on to survey a site, with an intervention on site that offers the people something in return to their cooperation.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif;">Photographic process in front of the GPO</span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">Then, the photographic process itself took roughly 3-4 minutes: once the subject was in focus, he had
to remain completely still while the paper loaded and the following exposure time was 45 seconds.
That permited as well to really interact with the volunteer, and the expressions on the pictures taken
also show that people were concentrate and conscious of staying still facing the lens. In retrospect,
that point makes the pictures quite formal, comparing to other portrait series, like the work of <a href="http://www.metmuseum.org/toah/hd/evan/hd_evan.htm">WalkerEvans</a> in the metro. That was not really expected but was actually interesting to have what we can
refer to an ID photograph.</span><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-l2PxiALXmXU/VVNW46kctOI/AAAAAAAAAD8/MAlofYeaupg/s1600/Sans%2Btitre-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="271" src="http://1.bp.blogspot.com/-l2PxiALXmXU/VVNW46kctOI/AAAAAAAAAD8/MAlofYeaupg/s400/Sans%2Btitre-1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">Katie's digital and developed picture</span></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-k6owjCApQuI/VVNSsyLmXbI/AAAAAAAAADo/vBxk1Gy5024/s1600/09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="368" src="http://2.bp.blogspot.com/-k6owjCApQuI/VVNSsyLmXbI/AAAAAAAAADo/vBxk1Gy5024/s400/09.jpg" width="400" /></a></td></tr>
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<span style="font-size: 9pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Walker Evans’s picture in the metro</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> While developing the pictures then, we were really disappointed with their quality. Indeed, the day
light was not enough strong so the negatives were really ghostly. Due to a large budget already spent
and technical considerations, we were not able to reiterate the process so we decided to accommodate with the pictures. As an afterthought, that aspect was really interesting because it made the
project evolve. We decided to associate a digital picture, initially taken only as a simple record of the
moment, to a developed picture in order the different elements to be stronger as a combination. That
is how we came to the final installation. Thus, I have become aware that the different steps of the
learning process were really rich in that project rather than trying to have a perfect result.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">How did that project influence my practice of surveying a place in order to design ? As a foreigner,
the GPO and O’Connell street were places I have only experienced for the last few months so they
still seem new and unknown for me. That type of survey is far from trying to portrait the city by its
building and different typologies, as <a href="http://www.tate.org.uk/art/artists/bernd-becher-and-hilla-becher-718">Bernd and Hilla Becher</a></span> <span style="font-family: Arial, Helvetica, sans-serif;">did with their objective series of typology, even if that is another type of portraiture. The project opened my mind to another type of
survey, which also tells you about the people of a place and the place itself. However, by interacting
with people, I felt to be easily influenced by their talks because I was a newcomer. As a conclusion, to
survey a city by using photography, it seems really important to combine more ‘objective’ and ‘subjective’ means. To that end, the work of the three disseminating architecture groups seems to complement each other. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Hélène Guillemot</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><br /></i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Bibliography :</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Fields, Arthur, Ciarán Deeney, David (Documentary producer) Clarke, and Man on Bridge Project. Man on the bridge: The
photos of Arthur Fields. Cork: The Collins Press, 2014.<br />Andrews, Gerry. Shaped by History. Dublin : Juniper, 2012.<br />
Exhibition in the National Photographic Archive, (Meeting House Square, Temple Bar) from August 1, 2014 to the January 5,
2015 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Evans, Walker. Many Are Called. Yale : Yale University, 2004. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Becher, Bernd, and Klaus Bussmann. Bernd & Hilla Becher: Tipologie = typologien = typologies. Bonn: Auftrag des Auswärti-
gen Amtes, 1990. </span></div>
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Anonymoushttp://www.blogger.com/profile/06249931854658947760noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-65281872163486786662015-04-17T16:44:00.003+01:002015-04-17T16:44:55.302+01:00Rediscover the city<div style="-webkit-text-stroke-color: rgb(50, 51, 51); -webkit-text-stroke-width: initial; color: #323333; font-family: Helvetica; font-size: 11px; text-align: justify;">
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<a href="http://4.bp.blogspot.com/-jp-xpd30dw4/VTEqBsF3FWI/AAAAAAAAAEw/v5tf5fTNyxU/s1600/DSC_1090.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-jp-xpd30dw4/VTEqBsF3FWI/AAAAAAAAAEw/v5tf5fTNyxU/s1600/DSC_1090.jpg" height="400" width="267" /></a><a href="http://3.bp.blogspot.com/-RUhXeHvSsto/VTEqIaiDKlI/AAAAAAAAAE4/6j79zSQRvVA/s1600/DSC_1085.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-RUhXeHvSsto/VTEqIaiDKlI/AAAAAAAAAE4/6j79zSQRvVA/s1600/DSC_1085.jpg" height="400" width="267" /></a></div>
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’<i>Flâneurs don’t have any practical goals in mind, aren’t walking to get something, or to go somewhere. What flâneurs are doing is looking. Opening their eyes and ears to the scene around them, wondering about the lives of those they pass, constructing narratives about the houses, eavesdropping on conversations, studying how people dress and street life in general. Flâneurs relish what they discern and discover.’</i> -<b> </b>Alan Fletcher </div>
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Fletcher describes the phenomenon of the flâneur and Charles Baudelaire also wrote about the city wanderer. Many writers and artists where fascinated by the effects of the city on its inhabitants and how the people use the spaces. But what about us as the viewers of the twenty-first century? Are we still into the city?</div>
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Mostly the people move through the city from A to B in order to achieve a specific goal. The way they move through the city becomes a routine. They have become familiar with the space, they don't notice anything new. </div>
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There are different functions on the site and the different functions are used by different people:</div>
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The people they don’t see, the people that use the other functions, because of the time difference.</div>
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People of the modern society don’t pay attention to their surrounding and therefore it would be interesting to investigate the definition of the modern flâneur.</div>
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The aim of the research is to rediscover the city through photography. The local people that are familiar with the space, should perceive the city in a new way.</div>
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The images should show unseen or unnoticed physical features of the specific space.</div>
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It should also show how the spaces are used by different people over time, it will unite people that usually wouldn't meet due to the difference in time. In this way the viewer of these images will travel in time with the people in the images. </div>
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The J. Paul Getty Museum explains that William Eggleston’s work ’<i>monumentalize everyday subjects, everything is equally important; every detail deserves attention.</i>’ His colour film photographs capture ’democratically’ unspectacular events of our everyday life. In his book ’Los Alamos’ Eggleston suggests through the arrangement of different images stories behind the images.</div>
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The project focuses on Findlater Place, a cleft place in Dublin 1, dividing different functions from each other. It can be seen as a transition space to other places.</div>
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The space is used in different ways because of different functions: Bord Pleannala is next to the Best Western Academy Plaza Hotel and DIT, College of Catering faces the St. Thomas Church.</div>
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All these diverse functions attract different people and draw them in.</div>
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The first idea was to stitch different focused images together as a collage to suggest a story. David Hockney, a well-known photographer, plays with perspective and details through overlaying images together. Nevertheless the assembled image appears too flat and looses its initial focus. Every image tells its own story and should take its own position.</div>
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Hence the new and final idea is to link images together and would be gathered in a book.</div>
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By combining one image on either side; a story is suggested. New ways of perceiving the space and events within a space should encourage the viewer to rediscover the familiar surrounding. Constructing narratives and lives beyond images are the main interests for our investigation. <span style="-webkit-text-stroke-width: initial;">The city is more than a transition space.</span></div>
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Lucy Buratto, Arwin Hidding, Christina Kerr, Asal Mohtashami</div>
Space Framedhttp://www.blogger.com/profile/00967245435786608105noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-65023649967398541012015-04-16T12:27:00.000+01:002015-04-18T08:48:34.182+01:00<div class="Default" style="text-align: left;">
<span style="font-size: 16.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">A View of the City</span><o:p></o:p></span></div>
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<span class="s1"> </span><i>“When I lived in the suburbs of the city, I used to walk a lot, I found it cathartic, walking through streets upon streets of rowed houses allows you to understand the area in which you live”</i><span class="s1" style="font-size: xx-small;"> </span><i style="font-size: x-small;">[1]</i></div>
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<span class="A0"><i><span style="font-family: Arial; font-size: 10.0pt;">Nick Papadimitriou</span></i></span><span style="font-family: Arial; font-size: 10.0pt;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-5A5eVmN4PZ4/VS-ZbYp81fI/AAAAAAAAAO4/rT0DibNU5jE/s1600/St%2BStephens%2BGreen%2BArch%2Bcapture.jpg" imageanchor="1" style="line-height: normal; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-5A5eVmN4PZ4/VS-ZbYp81fI/AAAAAAAAAO4/rT0DibNU5jE/s1600/St%2BStephens%2BGreen%2BArch%2Bcapture.jpg" height="355" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small; font-style: italic;">Memorial Inscription to underside of Fusilier's Arch, St. Stephens green</span></td></tr>
</tbody></table>
<div align="right" class="Default" style="line-height: 12.05pt; text-align: right;">
<span class="A0"></span></div>
<div class="Default" style="line-height: 12.05pt; text-align: right;">
<br /></div>
<div align="right" class="Default" style="line-height: 12.05pt; text-align: right;">
<span class="A0"><i><span style="font-family: Arial; font-size: 10.0pt;"><br /></span></i></span></div>
<div class="Pa0">
<span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">Grafton
street is a primary thoroughfare through the city, it is a street which the
visual urbanist would call an embodied local route, by which I mean, the people
who use this route have a cognizant sense of place and embeddedness of identity
through the transition from Trinity College to St. Stephens green. As noted by
John Berger in his 1972 BBC series, </span></span><span class="A0"><span style="font-size: 10.0pt;">' </span></span><i><a href="https://www.youtube.com/watch?v=0pDE4VX_9Kk" target="_blank">Ways of Seeing</a>' </i><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">a large part of
seeing depends on habit and convention </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[2]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. The route becomes a remembered
‘street’ whereby the user has an ‘a priori’ visual image of the street in their
mind. This visual image may have been subconsciously developed and over time
allows itself to become numb to its surroundings. Guy Debord and the
Situationalist international influenced by post modernism theorised that modem
cities are constructed around commercial imperatives, suitably described by
Belgian philosopher Raoul Vaneigem, another principal theoretician of the
Situationist movement </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[3]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">;</span></span></div>
<div class="Pa0">
<span class="A0"><span style="font-family: Arial; font-size: 10.0pt;"><br /></span></span></div>
<div class="p1" style="text-align: center;">
<br /></div>
<div class="Pa0">
</div>
<div class="p2">
<span class="s1"> </span>“Work to survive, survive by consuming, survive to consume; the hellish cycle is complete.”</div>
<div class="p2">
<br /></div>
<div class="Pa0">
<span class="A0"><span style="font-size: 10.0pt;"><br /></span></span></div>
<div class="MsoNormal">
<span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">... a sentiment which has become diluted to – <i>Work , Consume, die</i>.
In many respects it has a lot of truth for Dublin city centre, we have areas
which focus short linear narratives of; work, shop, entertain, home. Therefore
we never really see the city as a whole anymore, we don’t exist in the city as
it was truly planned out to be. To counter this theory, Debord and his group of
friends would drink wine and then acting as </span></span><span style="background: white; font-family: Arial; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">flâneurs</span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">, create a </span></span><span style="background: white; color: #444444; font-family: Helvetica; font-size: 10.5pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">dérive</span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;"> through the city,
from north to south with no real objective, thereby disassembling the edifice
of the capitalist society. Walking is unique in the modern fast paced world, it
is one of the few times where you have the possibility to have a continuous
narrated linear journey in real time, allowing oneself to gain hidden knowledge
of the city thus giving it a sense of depth and dimension </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[4]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. In many ways it is
the antithesis to other visual mediums, modern motion pictures with regard to
representation of an urban setting for instance, are jump cut, with a
non-linear narrative. The space and time are meaningless, with little to no
regard for true narrative lineage. The act of planning a perfect real time
filmed archive of the city street is almost impossible, as the city will always
contain its own unplanned intervention </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[5]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. Whether it be someone walking into
shot, a car moving across the frame or construction works screening of a
usually interesting route. </span></span><span style="font-family: Times; font-size: 10.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="Pa0">
<span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">The
visual archive of the city is important as it captures moments of urban and
social encounters. This exposure to city life is essential to the understanding
of visual urbanism. To revisit places and spaces, to instigate the activation
of memories after long periods of absence is vitally important to the nature of
the derive. In describing a place, transition or ritual it allows one to
retrieve memories which have been physically left there, as if it were a
tangible object as opposed to its true nature, which is a chemically encoded
process </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[6]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. Carl Jung theorised that we may have access to a universal
consciousness, that relates to time and space </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[7]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. The scrapes on the granite slabs
which pave the street, the heavy weathering of the stone walls and bricks above
the shop-fronts, these are aesthetic nostalgia, all of which are spaces, places
and moments left behind by the passage of history. They allow us to access
memories of a place in time, even if we are fully disconnected from them. By
removing the modern shop-fronts of Grafton street from the field of view, and
looking up at the mostly historic fabric of the street, can we then reinterpret
the act of the visual archive. As this can no longer be placed to a time scale
if the buildings have remained unchanged. Time and space in this sense are
extremely complex fixed mathematically sciences set firmly within the ‘real’
world. T.S Elliot describes his understanding of ‘real’ time in his work <a href="http://www.coldbacon.com/poems/fq.html" target="_blank">'</a></span></span><span class="A1"><a href="http://www.coldbacon.com/poems/fq.html" target="_blank"><span style="font-family: Arial; font-size: 13.3333330154419px;">Four Quarters - Burnt Norton (1935)</span>'</a> <span class="s2">as </span><i>“...time present and time past are both perhaps present in time future and time future contained in time past.” </i><span style="font-family: Arial; font-size: 5.5pt;">[8]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. Which can be understood as the
past no longer exists in any physical sense, but is manifested through the metaphysical.
We require the works of writers, painters , poets and visual artists to
interpret and represent the city ‘of the time’. The concept of our project is
the viewing of the quotidian using an uncommon view. To make a visual
experience which will allow one to understand the space through an embodied
experience which engages with routes and transitions to allow us to represent
the primary location for urban encounters, the street. In Kevin Lynch’s </span></span><span class="A0"><span style="font-size: 10.0pt;"><a href="http://www.academia.edu/5246993/Kevin_Lynch-_The_Image_of_the_City" target="_blank">‘The Image of the City’</a> </span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">he says that visual representation should act as a form of
engagement with the urban setting, by using the mental image of the walk as an
event. In doing this we can engage with the urban sensorium, a multi layered,
multi sensory experience which weaves geography, psychology and autobiography
together to produce a phenomenological fabric of the city </span></span><span class="A1"><span style="font-family: Arial; font-size: 5.5pt;">[9]</span></span><span class="A0"><span style="font-family: Arial; font-size: 10.0pt;">. The rational and
outcome of this visual representation of Grafton street should be to encourage
a dialogue on the topic of visual urbanism, of the image as evidence and the
image as archive. It should question the role of location, politics and ethics
along these routes of urban encounters.</span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-8kx-vnRM7QA/VS-Y9m5YuGI/AAAAAAAAAOs/gr8u0X28ZTA/s1600/diagrams%2B1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-8kx-vnRM7QA/VS-Y9m5YuGI/AAAAAAAAAOs/gr8u0X28ZTA/s1600/diagrams%2B1.jpg" height="376" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Transforming the View of Grafton Street</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">Using a
bike as a filming device for smooth video, a goPro camera will be mounted
looking in two different directions. The first view will be mounted to the back
of the bicycle at saddle height and looking up. The second view will look to
the ground from a height. The go pro will be mounted to a telescopic pole at a
height decided on site. </span><span style="font-family: Arial; font-size: 10pt;">The route
for filming will begin at St. Stephens Green, attempting to film centrally
through Grafton Street and ending just after crossing Suffolk Street.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">To exhibit
our work we will use two projectors mounted on the bicycle/ bicycles used for
filming.<span style="mso-spacerun: yes;"> </span>A white screen may be mounted
to project on to, or the white walls of our exhibition site used. The
projectors will show the video in an unfamiliar way, projecting the videos on
the vertical plane as opposed to the horizontal plane they were filmed on.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-4ADFkcZ3Zf4/VS-Y9mJW3HI/AAAAAAAAAOo/vCEfK62W82M/s1600/Untitled-11.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-4ADFkcZ3Zf4/VS-Y9mJW3HI/AAAAAAAAAOo/vCEfK62W82M/s1600/Untitled-11.jpg" height="414" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Work method<br />
<br /></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: Arial;"><span style="font-size: xx-small;">Aitana Perez, Kevin O'Brien, Cormac Friel</span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 10pt;"><o:p><span style="font-family: Arial, Helvetica, sans-serif;"> References</span></o:p></span></div>
<div class="Default">
<br /></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[1] - Papadimitriou,
Nick - excerpt on walking from “The London Perambulator” - 2009 - Film</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[2] - Berger, John -
excerpt from BBC series ‘Ways of Seeing’ - 1972 - Television series</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[3] - Debord , Guy -
Internationale Situationniste #2 (December 1958)</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[4] - Papadimitriou,
Nick - excerpt on walking from “The London Perambulator” - 2009 - Film</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[5] - Halliday, Paul
- excerpt from TATE modern ‘Urban Encounters - Routes and transitions - 2013 -
Annual Conference</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[6] - Till,Jeremy -
Thick time , Collected Writings , 1999</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[7] - Jung, Carl -
“La Structure de l’inconscient” in Archives de Psychologie XVI - 1916</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
<div class="Pa0">
<span style="font-size: xx-small;"><span class="A2">[8] - Elliot, T.S -
Four Quartets, Burnt Norton - 1935</span><span style="color: black; font-family: 'Minion Pro';"><o:p></o:p></span></span></div>
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<span class="A2"><span style="font-size: xx-small;">[9] - Lynch,
Kevin - The Image of the City – 1960</span><span style="font-size: 6pt;"><o:p></o:p></span></span></div>
Anonymoushttp://www.blogger.com/profile/01393590732761900345noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-83382684118630437182015-04-15T22:57:00.001+01:002015-04-15T22:58:18.187+01:00Portraiture photography of Dublin’s occupants<div class="separator" style="clear: both; text-align: left;">
<span style="font-family: Arial, Helvetica, sans-serif;">Beginning in 1930’s, a modest tailor tried his luck at street photography on Dublin’s main thoroughfare O’Connell Street and O’Connell’s Bridge providing the service of capturing special moments on camera for the masses. He did this all year round for 50 years and to the people of Dublin became known simply as the man on the bridge. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Exploring the concept of photography as means to survey architecture within the city, our proposal has been derived from idea of using portraiture photography of Dublin’s occupants as a means of surveying the city at present. <a href="http://www.manonbridge.ie/">Arthur Fields, the man on the bridge</a>, little to his knowledge was cataloguing with his photographs the people of Dublin spanning 50 years, individually these photographs were precious family objects but collectively the are a unique and comprehensive record of the people of Dublin City. We are using a large format home built camera which is rudimentary in its design and mechanics. It is simply light sealed box with a hole to place a lens and hole to act as a viewfinder. The lens we are using is a 610mm Bausch & Lomb Optical Aerial Reconnaissance lens from a WWII aircraft and exposing onto Ilford 8 x 10 photography paper. The photographic process itself takes roughly 5 minutes and presents challenges given that once the subject is in focus, they must remain completely still while the paper loaded and the exposed. We have conducted trial photographs in afternoon light on a clear day and estimated that the exposure time has to be between 30 – 35 seconds.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The site we have chosen to take the photographs is the General Post Office in the heart of Dublin city. This site offers us not only shelter if needed through the portico but also an historic and thought provoking setting. We aim to set the camera up between the two central columns. Before photographing someone we will ask a few simple questions such as “whats your name?” “Where are you from?” Etc. Just prior to the person sitting for the photograph we will ask a question such as “ Whats your earliest memory of this place?”. The person will then be asked to contemplate their answer for the duration of the cameras exposure. The answer will then be recorded for accurate transcription in the exhibition. Each participant will also receive a copy of their photograph by email and be invited to view the exhibition once open.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The primary element of our exhibition will be 9 photographs simply framed with a quote from the participant underneath. This quote will be taken from the question “ Whats your earliest memory of this place?”. The photographs will be chosen based on the quality of the image but also on the interaction which we had with the person and what we feel will contribute most to the exhibition as a whole. As well as the framed photographs we will also create a book with the entire collection of photographs and quotes as well as a documentation of the process which can be looked through in the exhibition but will also be put online. We also aim to exhibit the physical camera to properly tell the process of the image making.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Cianan Crowley, </span><span style="font-family: Arial, Helvetica, sans-serif;">Adrian Cullen,</span><span style="font-family: Arial, Helvetica, sans-serif;"> Hélène Guillemot</span></div>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-0TCKSE5PZV8/VS7cZsN4AYI/AAAAAAAAACU/3OCs2FdiwIs/s1600/2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-0TCKSE5PZV8/VS7cZsN4AYI/AAAAAAAAACU/3OCs2FdiwIs/s1600/2.jpg" height="640" width="508" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pRB867RXNhk/VS7cYdcK-PI/AAAAAAAAACM/FO3dnUgdDkA/s1600/4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-pRB867RXNhk/VS7cYdcK-PI/AAAAAAAAACM/FO3dnUgdDkA/s1600/4.jpg" height="640" width="514" /></a></td></tr>
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<tr><td><a href="http://1.bp.blogspot.com/-xQT0WOJrk5I/VS7ccIAF88I/AAAAAAAAACc/awWTya-XQkI/s1600/3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-xQT0WOJrk5I/VS7ccIAF88I/AAAAAAAAACc/awWTya-XQkI/s1600/3.jpg" height="640" width="524" /></a></td></tr>
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Anonymoushttp://www.blogger.com/profile/06249931854658947760noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-37823765654214967622015-02-18T11:09:00.002+00:002015-02-18T11:09:34.252+00:00<div style="font-family: Arial; font-size: 12px; min-height: 14px;">
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<span style="color: black; font-size: 12px;"> </span>EDWARD BURTYNSKI</div>
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LIFE</div>
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Edward Burtynski, born 1955 of Ukrainian heritage in St. Catharines (Ontario, Canada) is well known for his unique style of capturing and contemplating his environment. He studied Photography/Media Studies in Ryerson University and graduated 1982. His works are included in permanent collections of over sixty museums such as Guggenheim Museum in New York, Museum of Modern Art, Reina Sophia Museum in Madrid etc. Photography is his way of communicating his thoughts and concerns he has towards</div>
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landscapes modified by mankind. What was his motivation?</div>
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BASELINE</div>
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Burtynski’s beginning as a photographer was strongly influenced by his immediate surrounding. As a </div>
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Canadian nature accompanied him since his childhood in a particular way; he experienced the untouched nature, a nature being in a transient mode. He perceived the geological time, going on for long time and he asserts that humans experience nature in a different way. This important feature marking his childhood was a reference point for his work. Moreover he is concerned about the way existing natural landscapes are transforming by us into manufactured polluted landscapes, harming the environment in which we live. Burtynski reflects about how to rethink landscape, but how?</div>
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On a trip to Pennsylvania 1983, Burtynski lost the track and arrived to a coal-mining town called Frackville. He was blown away by the landscape fully transformed by man. A new created massive amphitheatre like landscape has been created in order to harvest nature’s raw materials. His ambivalence of being fascinated and shocked led him realise how he wants to interact as a photographer. This moment in his life marks the baseline for his work. From there on, his work was clearly dominated by manufactured landscapes and their effects on nature and human.</div>
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<a href="http://4.bp.blogspot.com/-8vKQS-iAk68/VORwlJFYO8I/AAAAAAAAAD8/tzQw71N655I/s1600/Mines%2B22_Kennecott%2BCopper%2BMine_Bingham%2BValley_Utah_1983.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-8vKQS-iAk68/VORwlJFYO8I/AAAAAAAAAD8/tzQw71N655I/s1600/Mines%2B22_Kennecott%2BCopper%2BMine_Bingham%2BValley_Utah_1983.jpg" height="318" width="400" /></a></div>
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CAMERA(S)</div>
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Before moving on to his working methods and projects, it is important to mention what kind of cameras </div>
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Burtynski uses. His first camera was a Linhof 5x4 inch using it for nearly thirty years. Using a tripod for </div>
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capturing precise and clear pictures, Burtynski created a more face-to-face interaction between observer and landscape. After 2009, he decided to change for a Hasselblad H3D being more adequate for aerial photography. There is a change of how Burtynski nets his ambiance. From a rather more human scale, he changes into a bird’s eye perspective, showing from above the manufactured landscapes.</div>
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WORKING <span style="font-size: 11.5px;">METHODS</span></div>
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His life’s work, exploring human and natural circumstances, can be seen as a sort of research. Burtynski ‘looks at industrial landscape as a way defining who we are in our relationship to our planet’. He wants to understand his environment and to act against the uneasy contradiction of being dependent on nature and the concern for the health of the Earth. Furthermore he criticizes the collective appetite and consequences of our behavior. Our world is hypnotized by desire and the world is suffering of our success. Burtynski gets ‚sober‘ when he has to think about our current circumstances. </div>
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Therefore he uses a specific method to his surrounding; his jolie / laide (beautiful/ugly) style can be characterized by means of capturing subjects rich in detail and scale which are selected carefully in order to show our contemporary issues.</div>
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His images are metaphors of our modern existence. Burtynski creates through photography in his images a dialogue between attraction and repulsion, seduction and fear. The audience should not feel rejected, they should rather experience fear and pleasure at the same time. Outsiders should be able to understand the message without only feeling fear. Burtynski is extremely careful about the way he is transmitting his thoughts and developed his own style. So how did he advanced his methods?</div>
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We will have thus a look to selected works. In the 1980’s and 1990’s Burtynski rather concentrated mainly on North America with exception of Italy and Portugal. He outlined his homeland and illustrated the way industrialization manufactured the ’untouched nature’. His early work can be regarded as a documentary of the ever-changing environment. His shoots of ’Ferrous Bushling’ in Hamilton, Ontario dealt with the topic of recycling seen as a redemption to our environmental concerns. He concluded that human activity combined by the idea of sustainability are the solution to our problem. </div>
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<a href="http://2.bp.blogspot.com/-FHccPKNuatw/VORyBB34ewI/AAAAAAAAAEE/Y1S7WiE9zCU/s1600/Ferrous%2BBushling_Hamilton_Ontario_1997.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-FHccPKNuatw/VORyBB34ewI/AAAAAAAAAEE/Y1S7WiE9zCU/s1600/Ferrous%2BBushling_Hamilton_Ontario_1997.jpg" height="266" width="400" /></a></div>
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In 2000, Burtynski travels to Bangladesh, a country characterized by famine, poverty and pollution. This is his first time to travel to the Third World. He was shocked about the current conditions how people lived in a landscape influenced through our desire to consume. He shooted a ship breaking scene in Chittagong. Locals deconstructed the ships with their bare hands. Burtynski began from there on to capture also the conditions of manufacturers in the Third World being force to manufacture the landscape in order to satisfy our needs. He is more than an usual photographer. He wants to transmit his emotions to the observers by selecting particular positions with the camera.</div>
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Another important project was his film ’Manufactured Landscapes’ (2006), a documentary of his travels mainly in Asia. One of them is China, a country which has a great impact on industries by the increasing numbers of manufactories, which planned the Three Gorges Dam. It is the biggest dam in China and 600 km around the dam had to be destroyed. This massive transformation shaped the landscape in a dramatic way. The surrounded buildings were demolished by hand done by inhabitants; this transformation was again wanted. The need for power drived the country to change the landscape massively by ignoring the needs of the locals. Burtynski wanted to show the dramatic change and how nature and humans are </div>
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suffering due to globalisation. His images document this transformation by showing genuine truth. </div>
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He created ’images/places allowing viewers to comprehend the scale, a different kind of landscape‘ through the positioning of the lenses. The observer is transferred to the scene and sees the reality. </div>
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After changing his camera, the way how Burtynski examines his surrounding changes too. He changes the scale from a human scale to a bird’s eye view. After ten years humans are not anymore positioned in the images. Landscapes from above captured as picturesque oeuvres become his main interest. The aerial perspective shows a superiority of the photographer towards ordinary people. Burtynski illustrates the beauty and the ugliness of our actions. His ’Pivot Irrigation’ shoots in Texas and Arizona are an remarkable example for interpreting and rethinking the landscapes in a rather abstract and artistic way. Burtynski works now even more consciously with contrasts in his images as for his shoots in Iceland (cf. Dyralaekir river in Myrdalssandur, 2012). </div>
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Comparing his previous works with his current methods, Burtynski advanced his techniques and his way of communicating his ideas is striking. In my judgement he unifies research and photography in a harmonious way. The observer feels attracted to his pictures without loosing himself in their beauty.</div>
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<i>-Asal Mohtashami</i></div>
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Space Framedhttp://www.blogger.com/profile/00967245435786608105noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-30388706432888371532015-02-18T10:56:00.001+00:002015-02-18T10:56:51.049+00:00William A. Garnett_The Liminal State<b><span style="font-family: Arial, Helvetica, sans-serif;">Aerial Photography + The Liminal State </span><span style="font-family: Times, Times New Roman, serif;"><i>(suburbia)</i></span></b><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The raison d’etre of Ariel photography is to reveal itself as the creation and visual representation, of varying scales of surface terrain. This ‘non-oblique’ form of photography acts as a ‘flattening’ of the image, further enhancing the subject matter of the surface being ‘documented’. In saying this, the deliberate ‘framing’ of the surface partially removes the ‘matter-of-fact’ element which concerns most aerial photography, particularly with reference to the purposes of a ‘pure’ documentation of the landscape, and it transcends to the realms of ‘art’. An art form whose primary interest is abstraction, the understanding of human interaction and more recently, it is a critique of man’s effect upon the natural environment.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">William A. Garnett was a aerial photographer whose work focused upon this ‘interaction’ of man and the natural setting. For over 50 years, and 10,000 flying hours ( akin to a commercial airline pilot), Garnett piloted his own ‘Cessna 170’ light aircraft while simultaneously photographing the surface below. Ansel Adams once commented that ‘“...when Garnett was flying his plane, he was literally flying the camera”. He used a variety of camera formats, film types and methods for this purpose, with the end result consisting mostly of ‘silver prints’ which show his diverse portfolio which varied from ‘pure abstraction’ to almost geometric ‘patterned compositions’. It is in its essence, its dramatic abstracted matriculation, the synecdoche of the term ‘suburbia’. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">To describe Garnetts photographs as ones which concern ‘landscapes’ would be conceited, as many of his studies are free from the convention of grounding the image with the datum of a horizon line. This allows his work to focus on the geometric patterns, organic shapes and dramatic escarpments of the natural terrain which are not observable to those of the ground.</span><br />
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<span style="color: #666666; font-family: Times, Times New Roman, serif;">“Aerial photography in the 20th century served primarily as a documentary medium. William Garnett stands out as a pioneer in turning aerial photography into an art form. Through his camera work, Garnett looked for and emphasized beauty in the American landscape. With a conservationist’s turn of mind, he found pleasure searching out details in the terrain below him,” </span><br />
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<span style="background-color: white; color: #666666; font-family: Times, Times New Roman, serif; font-size: x-small;">Stephen Jareckie</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Garnett’s initial recognition came when he published his series ‘Lakewood Housing’, this portfolio of work catalogs the construction of the Lakewood housing development in the suburbs of Los Angeles city. It is a series which is influenced by scale, abstraction, composition, critique and social narration. These tightly framed photos are most devoid of any people, but are completely conscious of the effect of ‘man’s’ interaction with the natural setting and revealing the abstract forms of urban development. Garnett’s self efficacy sought to transcend the journalistic role of the documentarian, in order to capture what Henri Cartier-Bresson called ‘the decisive moment’; which was the capturing within an image, the ulterior life of time and place. Taking aerial photos in an aeroplane as it moves across a terrain creates unique spatial and temporal demands of the photographer, Garnett pointed out that the delay in circling a plane around to gain a similar vantage point quite often meant that the light and conditions had changed and as a consequence so had the image. </span><br />
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<span style="background-color: white; font-family: Arial, Helvetica, sans-serif;">Kevin O'Brien</span></div>
Kevin O'Brienhttp://www.blogger.com/profile/18016992057485366629noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-51609884985512551292015-02-18T10:42:00.001+00:002015-02-18T10:46:16.690+00:00Powers Of Ten<!--[if gte mso 9]><xml>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Kees Boeke was a Dutch reformist educator, Quaker missionary
and pacifist. Cosmic View: The Universe in 40 Jumps is an essay published by
Boeke in 1957. It<span style="mso-spacerun: yes;"> </span>combines writing and
graphics to explore many levels of size and structure, from the astronomically
vast to the atomically tiny. <o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cosmic View makes explicit the global implications of an
expanded sense of scale: at stake is the very nature of what it means to be
human. ‘It is a matter of life and death for the whole of mankind’, Boeke
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<!--StartFragment--><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It then narrows in on the original picture, with
graphics that show ever smaller areas until the nucleus of a sodium atom is
reached. Boeke writes commentary on each graphic, along with introductory and
concluding notes.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-lf0MfI4SAa0/VORnOPmQgkI/AAAAAAAAAM4/jeAXWnE48DA/s1600/universe-jumps-kees-boeke.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" src="http://3.bp.blogspot.com/-lf0MfI4SAa0/VORnOPmQgkI/AAAAAAAAAM4/jeAXWnE48DA/s1600/universe-jumps-kees-boeke.jpg" height="127" width="400" /></span></a></div>
<!--EndFragment--><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Boeke’s Ccosmic View was recognised as the inspiration for a number of
short films exploring the same of scale. </span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cosmic
Zoom (1968) <a href="https://www.youtube.com/watch?v=VgfwCrKe_Fk" target="_blank">https://www.youtube.com/watch?v=VgfwCrKe_Fk</a></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Powers
of Ten (1968, 1977) <a href="https://www.youtube.com/watch?v=0fKBhvDjuy0" target="_blank">https://www.youtube.com/watch?v=0fKBhvDjuy0</a><span id="goog_849740091"></span><span id="goog_849740092"></span><a href="https://www.blogger.com/"></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cosmic
Voyage (1996) <a href="https://www.youtube.com/watch?v=FVFvH8Sfj98" target="_blank">https://www.youtube.com/watch?v=FVFvH8Sfj98</a></span></div>
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<!--StartFragment--><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">One of the most influential of these films was
Powers of Ten:<i> A Film Dealing with the Relative Size of Things in the
Universe, and the Effect of Adding Another Zero</i>, created by Charles and Ray
Eames, first released in 1968 and re-released 1977 , for IBM. It explores this idea of a continuity of scale, and the
consequent comparability of the gigantic and the minuscule, by zooming to the
outer limits of telescopic and microscopic visibility, one power of ten at a
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Eameses sought to foster universal understanding of
socially beneficial science. To help people understand new technologies and
their potential, they produced approximately sixty films, exhibitions, and
books for such corporations as IBM, Boeing, Polaroid, and Westinghouse. The
Eameses joined with many scientists as visual communicators of their work.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">These projects translated complex ideas into simple images
to make them understandable to the lay person. The ultimate Eamesian expression
of systems and connections is the Powers of Ten. The 1977 film travels from an
aerial view of a man in a Chicago park to the outer limits of the universe directly
above him and back down into the microscopic world contained in the man's hand.<o:p></o:p></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The short film opens with a view of a couple settling down
to a picnic 10<sup>0</sup>. It is set in a park near Soldier Feild in Chicago on a sunny day. The man and woman arrange themselves on a striped cloth; the man
lies down, palm on his chest. The film moves to stills and the man becomes an object
like the apples or grapes of his picnic; his human measure the centre of the ensuing journey
across 40 scales.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><a href="http://4.bp.blogspot.com/-W8jTkkFdmFE/VORqargR4jI/AAAAAAAAANY/sNI9PQI58Rs/s1600/Screen%2BShot%2B2015-02-15%2Bat%2B15.11.11.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-W8jTkkFdmFE/VORqargR4jI/AAAAAAAAANY/sNI9PQI58Rs/s1600/Screen%2BShot%2B2015-02-15%2Bat%2B15.11.11.png" height="276" width="320" /></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The 3 large scale photos of the Chicago bay area were taken
by the Chicago aerial survey , commissioned by the Eames office. The widest
shot<span style="mso-spacerun: yes;"> </span>10<sup> 4 </sup>had to be taken
from a specially equipped high altitude plane. <o:p></o:p></span></div>
<br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The first photo of the couple was a 30 Inch in size. The
photo was then shrunk to a 3 inch and carefully glued to a 30 inch photo of a wider
view of Chicago.<o:p></o:p></span></div>
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<!--StartFragment--><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">By 10<sup>6</sup>, we have reached the altitude
of the atmosphere, and at 10<sup>7</sup> we see the entire earth, in a view
that clearly is meant to recall image 22727 (‘The Blue Marble’), taken only
five years earlier. A few more jumps take us into space and the realm of
planetary orbits: the moon, the earth, Venus and Mars. Soon the entire solar
system with its nine planetary orbits fills the screen, but by 10<sup>14</sup>,
it has dwindled to just one point, the sun like any other star. By the time we
arrive at 10<sup>22</sup>, the Milky Way is merely one small point of light,
one galaxy among many. At 10<sup>24</sup> we are given a moment to contemplate
the lonely reaches of space, where entire galaxies have shrunk to the size of
dust. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-PVu0DlV6H0Q/VORq9jDQ-nI/AAAAAAAAANo/a-pmJIMI9YE/s1600/Screen%2BShot%2B2015-02-10%2Bat%2B20.19.55.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" src="http://2.bp.blogspot.com/-PVu0DlV6H0Q/VORq9jDQ-nI/AAAAAAAAANo/a-pmJIMI9YE/s1600/Screen%2BShot%2B2015-02-10%2Bat%2B20.19.55.png" height="239" width="320" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">We now penetrate the world revealed by the microscope.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The man’s hand is the focus, both the starting point and the
symbol of scale. At 10<sup>–2 </sup>the hand’s surface, enlarged so its lines
seem like immense furrows, comes into view; at 10<sup>–3 </sup>we penetrate the skin
and enter one of its blood vessels. Moving down even further to the atomic
scale, at 10<sup>–10 </sup>we encounter their outer electrons in a view whose
black background spangled with white dots resembles nothing so much as the
outer reaches of the universe. At 10<sup>–12 </sup>the cell’s carbon nucleus,
‘so massive and so small’, with its six protons and six neutrons, comes into
view; at 10<sup>–13 </sup>we reach it: the universal module, building block of
matter and of life. At 10<sup>–16 </sup>the film ends in a riot of subatomic
motion and colour. (Di Palma, Vitoria)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em;"><a href="http://1.bp.blogspot.com/-QezK8vbOwCw/VORrb11_YlI/AAAAAAAAAN0/ouUw6dNKd3Y/s1600/Screen%2BShot%2B2015-02-15%2Bat%2B15.59.19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-QezK8vbOwCw/VORrb11_YlI/AAAAAAAAAN0/ouUw6dNKd3Y/s1600/Screen%2BShot%2B2015-02-15%2Bat%2B15.59.19.png" height="320" width="255" /></a></span></div>
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<br /></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Powers
of Ten illustrates the universe as an arena of both continuity and change, of
everyday picnics and cosmic mystery. The film also demonstrates the Eameses' ability to make science both fascinating and accessible.</span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
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</div>
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</div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
</div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
</div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sources:</span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Di
Palma, Vitoria. Zoom: Google Earth and Global Intimacy.</span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<!--StartFragment-->
<!--EndFragment--></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cosmic
View: The Universe in 40 Jumps, Book online at - <a href="http://www.vendian.org/mncharity/cosmicview/">http</a><a href="http://www.vendian.org/mncharity/cosmicview/">://www.vendian.org/mncharity/cosmicview</a><a href="http://www.vendian.org/mncharity/cosmicview/">/</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Watch the Powers of Ten: <a href="https://www.youtube.com/watch?v=0fKBhvDjuy0" target="_blank">https://www.youtube.com/watch?v=0fKBhvDjuy0</a></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-small;"><br /></span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; mso-line-break-override: none; punctuation-wrap: hanging; text-align: left; unicode-bidi: embed; word-break: normal;">
<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: x-small;">Sources:</span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Di Palma, Vitoria. Zoom: Google Earth and Global Intimacy.</span></div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; unicode-bidi: embed; word-break: normal;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="direction: ltr; margin-bottom: 0pt; margin-left: 0in; margin-top: 0pt; unicode-bidi: embed; word-break: normal;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;">Cosmic View: The Universe in 40 Jumps, Book online at - <a href="http://www.vendian.org/mncharity/cosmicview/">http</a><a href="http://www.vendian.org/mncharity/cosmicview/">://www.vendian.org/mncharity/cosmicview</a><a href="http://www.vendian.org/mncharity/cosmicview/">/</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><o:p></o:p></span></div>
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Anonymoushttp://www.blogger.com/profile/01393590732761900345noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-54668365706072481912015-02-18T01:26:00.002+00:002015-02-18T01:26:22.599+00:00Edward Ruscha Edward Ruscha is an American artist and photographer renowned for his deadpan approach to depicting his subject matters which in a lot of his work has been the irreverence of the Pop Art culture. Ruscha moved from Oklahoma City to Los Angeles in the 1950's as an art student and to this day, much of his work is entirely based on his personal experience and response to the glamour and manufactured culture he found while in California.<br />
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In 1963 Ruscha published the first of his books "Twenty Six Gasoline Stations" which is essentially exactly as the title describes it. The book contains images of petrol stations across the US simply stating their brand and location. Ruscha described the structures in these images as lazy architecture or zoom architecture relating to how they are primarily observed from a moving car.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-xoPx70H_vHQ/VOPdsx6Et8I/AAAAAAAAACg/DliiwQDgZe8/s1600/RuschaGasolineStations.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-xoPx70H_vHQ/VOPdsx6Et8I/AAAAAAAAACg/DliiwQDgZe8/s1600/RuschaGasolineStations.jpg" height="320" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Twenty Six Gasoline Stations" Book Front Cover, 1963</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-BdYBirzSQlc/VOPdxp-CXCI/AAAAAAAAACo/l-cFMExzHDw/s1600/ed-ruscha-standard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-BdYBirzSQlc/VOPdxp-CXCI/AAAAAAAAACo/l-cFMExzHDw/s1600/ed-ruscha-standard.jpg" height="314" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Standard, Amarillo, Texas, 1962</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-zcmI8sIEuSQ/VOPeBW9xJOI/AAAAAAAAACw/8fQSRNU3xhQ/s1600/chapter-7-plate-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-zcmI8sIEuSQ/VOPeBW9xJOI/AAAAAAAAACw/8fQSRNU3xhQ/s1600/chapter-7-plate-1.jpg" height="201" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A spread from "Twenty Six Gasoline Stations", 1963</td></tr>
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The photographs are very ordinary and taken by Ruscha himself using his 2 1/4 inch format Yashica Camera. The photos were then compiled into a book and mass produced on high speed offset lithographic presses which in itself was a precedent given that up till then artist's publications were seen as rare and sought after items. The means in which he both created and published this work is in a sense a response to the uniformity and homogenous structures captured in his images.<br />
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In 1966 Ruscha published another book named "Every Building on Sunset Strip". In contrast to his previous publications this was a 26 foot long fold out book consisting of individual photographs taken from a moving truck by a motorised camera with a 35mm lens, that were then stitched together in order to form a complete street length elevation of the Hollywood Boulevard.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-q7jmgubZ6Ok/VOPj3K_fjSI/AAAAAAAAADA/ZtmuHosJjS4/s1600/STU00167.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-q7jmgubZ6Ok/VOPj3K_fjSI/AAAAAAAAADA/ZtmuHosJjS4/s1600/STU00167.jpg" height="204" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Every Building on Sunset Strip" 1966</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-MITLV35SdzE/VOPj4M9y9tI/AAAAAAAAADI/XzGU0ZXYchw/s1600/tumblr_mkzu4zEQFw1r146zvo1_1280.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-MITLV35SdzE/VOPj4M9y9tI/AAAAAAAAADI/XzGU0ZXYchw/s1600/tumblr_mkzu4zEQFw1r146zvo1_1280.jpg" height="426" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">"Every Building on Sunset Strip" 1966</span></td></tr>
</tbody></table>
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Shortly after the publication of this book Ruscha happened upon the chance to take a helicopter flight across Los Angeles. While in the air he photographed the city beneath and became focused on both car parks and swimming pools as visually dominating features of the city when viewed from above. In 1967 he published the book "Thirty Four Parking Lots" which, in the same matter of fact style as his previous publications, cataloged a number of these vast spaces across the city that were void of cars despite their occupation. All the images are from a slight angle as opposed to a exact aerial view which provides perspective to the photographs however the exclusion of a horizon provides no means of gauging the any scale.<br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-CaDrkHyB8QE/VOPnh5-IZbI/AAAAAAAAADU/GO0BLEU_bUY/s1600/Ruscha-Parking-Gde.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-CaDrkHyB8QE/VOPnh5-IZbI/AAAAAAAAADU/GO0BLEU_bUY/s1600/Ruscha-Parking-Gde.jpg" height="320" width="261" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Thirty Four Parking Lots" 1967</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-9zBSHS-mF-U/VOPnpzXNlaI/AAAAAAAAADc/1TA3T1W-FCc/s1600/parking%2Blotts.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-9zBSHS-mF-U/VOPnpzXNlaI/AAAAAAAAADc/1TA3T1W-FCc/s1600/parking%2Blotts.jpg" height="640" width="532" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thirty of the Thirty Four Parking Lots, 1967</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-5qFN1BsoyM0/VOPntz-6aCI/AAAAAAAAADo/w13vBh0fFeM/s1600/baseball%2Bstadium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-5qFN1BsoyM0/VOPntz-6aCI/AAAAAAAAADo/w13vBh0fFeM/s1600/baseball%2Bstadium.jpg" height="320" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dodger Stadium, Thirty Four Parking Lots, 1967</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-wfIOQjD1Gik/VOPnt8pih4I/AAAAAAAAADk/XyGWhI2vRsE/s1600/ruscha_parking-lots25.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-wfIOQjD1Gik/VOPnt8pih4I/AAAAAAAAADk/XyGWhI2vRsE/s1600/ruscha_parking-lots25.jpg" height="316" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">May Company Wiltshire Blvrd, Thirty Four Parking Lots, 1967</span></td></tr>
</tbody></table>
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Adrian CullenSpace Framedhttp://www.blogger.com/profile/00967245435786608105noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-35006679944441829252015-02-17T23:55:00.002+00:002015-02-18T00:01:13.617+00:00Futurama 1939 (New York World’s Fair General Motors Pavilion)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-jfRda-7Nevc/VOPM8hAQagI/AAAAAAAAAAg/prrCKa03YiI/s1600/1939%2BGM%2BFuturama-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-jfRda-7Nevc/VOPM8hAQagI/AAAAAAAAAAg/prrCKa03YiI/s1600/1939%2BGM%2BFuturama-01.jpg" height="544" width="640" /></a></div>
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<a href="http://1.bp.blogspot.com/-Mkv50atwxAA/VOPNhJ-iieI/AAAAAAAAAAo/gpEA2XxDaZA/s1600/bel_geddes1_0.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-Mkv50atwxAA/VOPNhJ-iieI/AAAAAAAAAAo/gpEA2XxDaZA/s1600/bel_geddes1_0.jpg" height="320" width="250" /></a><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"></span></span><br />
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">The context</span></span></b></span></span></span><br />
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></span></span>
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">In 1939, a worldwide exhibition was
organised in New York and called the <a href="http://en.wikipedia.org/wiki/1939_New_York_World's_Fair">New York World’s Fair</a>. It was the first
exposition to be based on the vision of the future and its opening slogan was<span style="mso-spacerun: yes;"> </span>"Dawn of a New Day". There were
different zones such as the transportation, the government, the business, the
food zones… The American firm General Motors had its own pavilion called “Highways
and Horizons” that included an exposition called Futurama designed by Norman
Bel Geddes.</span><o:p></o:p></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><a href="http://en.wikipedia.org/wiki/Norman_Bel_Geddes">Norman Bel Geddes (1893-1958)</a> is an
American theatrical and industrial designer. He drew a lot of modern commercial
products and had his proper vision of the future. Indeed, he was really
interested in aerodynamics and created different kind of futuristic transport
such as a teardrop-shaped automobile. He also wrote different books explaining
his futuristic vision, like <i style="mso-bidi-font-style: normal;">Magic
Motorways</i> published in 1940.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Other firms have different pavilions in the
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>The
Futurama exhibition and its model</b></span></span><br />
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
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presented a possible future model of the world 20 years into the future in
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The model
of the projected America included in the pavilion was 3500 square meters. It
was built during three years by a hundred of skilled artists and craftspeople
supervised by Bel Geddes himself. You can have an idea of the way they were
working and assembling the different parts of the model on <a href="https://www.youtube.com/watch?v=xjclrx2__-w">a video</a>. It contains more than five hundred
thousand individually designed buildings, a million trees of thirteen different
species, and approximately fifty thousand motorcars. The 408 separate sections,
which composed the model, showed an imaginative future landscape. However, it
was based on aerial photographs of different regions of the United States,
provided by the pioneering company Fairchild Aerial Surveys. Bel Geddes and his
staff studied really precisely the photographs in order to establish the
environmental effects of various geographic and urban elements.</span><o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-bqrbt0iLuvA/VOPQlZdx0-I/AAAAAAAAABY/UaUiR2n2gws/s1600/222222.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-bqrbt0iLuvA/VOPQlZdx0-I/AAAAAAAAABY/UaUiR2n2gws/s1600/222222.jpg" height="260" width="640" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;">The visitor’s experience</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 10.0pt;"><o:p></o:p></span></b></span></div>
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Futurama
was not only a model you can see from above, it proposed a low-flying airplane
journey through the exhibit. Carried above the massive model on a conveyor
belt, 552 seated spectators had a bird’s eye view at the same time. It was a
18-minute ride, an experience of a flight with a speed of 120 feet per minute (or
0.6m per second). They used a suspended and winding conveyor belt to simulate
it. Thus, the spectator looked down through a continuous, curved pane of glass
toward the model. This ‘virtual plane’ was like changing altitude, as the model
changed of scale. Indeed, the general part was built at the scale of 1:2000 but
with close-up views at 1:20 (approximate scales we can presume looking at
pictures with its builders on it). There was for example the main zoom on the
busy intersection of the General Motors headquarters with detailed aerodynamic automobiles.
There were also different parts of the landscape such as the development of
suburbs, the amusement parks, a seven-lane continental highway with cars
moving… <o:p></o:p></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-CUrSYrOl5f8/VOPPoeatJ-I/AAAAAAAAABQ/o2mHFk5Bb0o/s1600/11111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-CUrSYrOl5f8/VOPPoeatJ-I/AAAAAAAAABQ/o2mHFk5Bb0o/s1600/11111.jpg" height="257" width="640" /></a></div>
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Today we
don’t have a lot of records of the experience that the visitors had in the
General Motors pavilion. We can just guess how it was through the different writings
and with that <a href="https://www.youtube.com/watch?v=FbKYgUebNdI">home movie. </a><span style="color: green;"><o:p></o:p></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>"I have seen the future"</b></span><br />
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 10.0pt;"><o:p><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></o:p></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-5fDvECCMH3I/VOPSAmAsvAI/AAAAAAAAAB0/hIKil54ABVw/s1600/aa.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-5fDvECCMH3I/VOPSAmAsvAI/AAAAAAAAAB0/hIKil54ABVw/s1600/aa.jpg" height="640" width="625" /></a></div>
<br />
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<a href="http://3.bp.blogspot.com/-fn1xLg1sJqU/VOPSCQgFSuI/AAAAAAAAAB8/kEJKwyT_pVw/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-fn1xLg1sJqU/VOPSCQgFSuI/AAAAAAAAAB8/kEJKwyT_pVw/s1600/1.jpg" height="172" width="200" /></a></div>
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">The
General Motors exhibition brochure described the experience enthusiastically
“Come tour the future with General Motors! A transcontinental flight over
America in 1960. What will we see ? What changes will transpire ? This magic
Aladdin-like flight through time and space is Norman Bel Geddes’s conception of
the many wonders that may develop in the not-too-distant future. Now we have
arrived in this wonder world of 1960!”. You can watch the <a href="https://www.youtube.com/watch?v=1cRoaPLvQx0">promotion video</a> of 1939 to have an idea of the
intentions of the Futurama exposition.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;">To
conclude, this installation was presented as one of the main attractions of New
York World’s Fair of 1939. There were more than 30,000 daily visitors a day and
5 million in total during the two seasons (1939 and 1940). At the end of the
ride, all these spectators received a souvenir pin where it was written "I have seen the future"</span><span lang="EN-GB" style="font-size: 10.0pt;">.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Bel
Geddes considered his project as a ‘’scientific and educational’’ panorama
viewed through the eyes of a spectator ‘’as though he were in an airplane’’. In
that case, the use of the aerial viewing was strategic, since it allows him to
demonstrate his own vision of utopia. As the spectator circles high above the
city, he is able to compare the badly planned area of the 1930s with the
well-organised districts of the newer American landscape.</span><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-bidi-font-size: 11.0pt;"><span style="font-family: Arial, Helvetica, sans-serif;">Hélène Guillemot</span></span></div>
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Anonymoushttp://www.blogger.com/profile/06249931854658947760noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-48359520319506207982015-02-17T19:38:00.001+00:002015-02-17T19:38:32.837+00:00David Maisel : The apocalyptic divine<br /><div class="MsoNormal">
David Maisel is an American photographer who is interested
in the conflicting relationship between mankind and nature. With his work he
wants to inform the viewer of the consequences of the extraction of natural
resources on the landscape. His goal is to change our relationship to the
landscape and our understanding of its history. The projects that are described
below will further explain his philosophy.<o:p></o:p></div>
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Mount Saint Helens<o:p></o:p></div>
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When David Maisel was still in his architecture studies, one
of his photography teachers named Emmet Gowin asked him if he wanted to go with
him to photograph Mount Saint Helens. The volcano erupted in 1980 and
devastated the landscape surrounding the volcano. The mountain was photographed from the air,
so most photographs are aerial photographs. Beside the fact that the landscape
was destructed by the volcano, Maisel noticed that the tree logging industry
also had a very negative effect on the landscape. Showing the destruction of
landscapes as a result of the industries became one of the key aspects in his
work. <o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-a9oAmp7rPaA/VOOXcZoqmRI/AAAAAAAAA2c/6nG1I9dFQDI/s1600/MSH26_MAISEL-700x554.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-a9oAmp7rPaA/VOOXcZoqmRI/AAAAAAAAA2c/6nG1I9dFQDI/s1600/MSH26_MAISEL-700x554.jpg" height="506" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-q1Jh_iJbJQo/VOOXcK7-OSI/AAAAAAAAA2Y/LEwXmz6Kni0/s1600/MSH27_MAISEL-700x554.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-q1Jh_iJbJQo/VOOXcK7-OSI/AAAAAAAAA2Y/LEwXmz6Kni0/s1600/MSH27_MAISEL-700x554.jpg" height="512" width="640" /></a></div>
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The Forest<o:p></o:p></div>
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The tree logging industry has had a destructive effect on
the landscape in the Northern part of Maine. A whole tree harvester was used in
this forest to harvest the trees. After the machine felled all trees the site
was abandoned. The landscape that remained reminded Maisel of the photographs
taken by Matthew Brady of the aftermath of the civil war. The chaos and destruction
was similar. To make these images more abstract and to lose the sense of scale
the color of the water was darkened. The scale in these images is almost
unrecognizable. <o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-nZ0HlFGYJkA/VOOXkALJpyI/AAAAAAAAA20/HbCLbUjcPQI/s1600/Forest8_MAISEL2-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-nZ0HlFGYJkA/VOOXkALJpyI/AAAAAAAAA20/HbCLbUjcPQI/s1600/Forest8_MAISEL2-700x700.jpg" height="640" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-YdRHBpBwMVc/VOOXkGs4suI/AAAAAAAAA2w/ruAp3BHlamQ/s1600/Forest10_MAISEL2-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-YdRHBpBwMVc/VOOXkGs4suI/AAAAAAAAA2w/ruAp3BHlamQ/s1600/Forest10_MAISEL2-700x700.jpg" height="640" width="640" /></a></div>
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The Mining Project<o:p></o:p></div>
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In the Mining project Maisel wants to show the consequences
of the extraction of natural resources in the Berkeley Mine in Butte, Montana. These
images reflect on the relationship between consumers, industry and the natural resources.
The consumers rely on these natural resources on a daily basis. Even
photography itself relies on the brutal extraction of these materials from the
landscape. </div>
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<a href="http://2.bp.blogspot.com/-5di3OM1R2SI/VOOXr1Er6TI/AAAAAAAAA3M/hbP5avcZZK8/s1600/MP_Inspiration_AZ4_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-5di3OM1R2SI/VOOXr1Er6TI/AAAAAAAAA3M/hbP5avcZZK8/s1600/MP_Inspiration_AZ4_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
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<a href="http://4.bp.blogspot.com/-6TbtkULaPXk/VOOXr5sIE_I/AAAAAAAAA3Q/KDnF5jJmWGs/s1600/MP_Inspiration_AZ9_MAISEL2-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-6TbtkULaPXk/VOOXr5sIE_I/AAAAAAAAA3Q/KDnF5jJmWGs/s1600/MP_Inspiration_AZ9_MAISEL2-700x700.jpg" height="640" width="640" /></a></div>
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The Lake Project<o:p></o:p></div>
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“A strange beauty that is born of environmental degradation”
<!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Maisel</Author><RecNum>9</RecNum><DisplayText>(Maisel)</DisplayText><record><rec-number>9</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">9</key></foreign-keys><ref-type
name="Web Page">12</ref-type><contributors><authors><author>David
Maisel</author></authors></contributors><titles><title>http://davidmaisel.com/</title></titles><volume>2015</volume><number>17-2</number><dates></dates><urls><related-urls><url>http://davidmaisel.com/</url></related-urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(<a href="file:///C:/Users/Arwin%20Hidding/Desktop/UCD/Disseminating%20architecture/David%20Meisel/Essay/David%20Maisel%200000011.docx#_ENREF_1" title="Maisel, #9"><span style="color: windowtext; text-decoration: none; text-underline: none;">Maisel</span></a>)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
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Starting in 1913 the water from Owens Lake near the eastern
side of the Sierra Mountains in California was diverted into Owens valley Aqueduct
to Los Angeles. The lake was depleted in 1926 exposing vast mineral flats. The
only life forms that will survive in the water that remained are bacteria. The
bacteria turn the water into a blood red color. The vast mineral field that
remains pollutes the air with toxic dust. <o:p></o:p></div>
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Terminal Mirage<o:p></o:p></div>
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Robert Smithson: “The sense of the Earth as a map undergoing
disruption leads the artist to realize that nothing is certain or formal” Maisel was inspired by the writings of Robert Smithson on
the Great Salt Lake. The object of photography is Utah’s Great Salt Lake.</div>
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<o:p></o:p></div>
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“Terminal Mirage examines the periphery of Utah’s Great Salt
Lake, including zones of mineral evaporation ponds and macabre industrial
pollution covering some 40,000 acres along the shores of the lake. At the
Tooele Army Weapons Depot, 900 munitions storage igloos sprawl across the
valley floor. With each layer of human intervention, the landscape becomes more
complex. Previous scars are covered over, and cycles of negation and erasure
expand into a grid system overlaid on the barren lake. From the air, a new map
emerges.” <!--[if supportFields]><span style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Maisel</Author><RecNum>9</RecNum><DisplayText>(Maisel)</DisplayText><record><rec-number>9</rec-number><foreign-keys><key
app="EN" db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">9</key></foreign-keys><ref-type
name="Web
Page">12</ref-type><contributors><authors><author>David
Maisel</author></authors></contributors><titles><title>http://davidmaisel.com/</title></titles><volume>2015</volume><number>17-2</number><dates></dates><urls><related-urls><url>http://davidmaisel.com/</url></related-urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(<a href="file:///C:/Users/Arwin%20Hidding/Desktop/UCD/Disseminating%20architecture/David%20Meisel/Essay/David%20Maisel%200000011.docx#_ENREF_1" title="Maisel, #9"><span style="color: windowtext; text-decoration: none; text-underline: none;">Maisel</span></a>)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]--><o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-5izM0cL4bFA/VOOX6NzoExI/AAAAAAAAA4E/LtzZROQikBk/s1600/TM8_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-5izM0cL4bFA/VOOX6NzoExI/AAAAAAAAA4E/LtzZROQikBk/s1600/TM8_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
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<a href="http://4.bp.blogspot.com/-EK5vXEf_iAY/VOOX6lcMk1I/AAAAAAAAA4M/VYK4SVT_cT4/s1600/TM9_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-EK5vXEf_iAY/VOOX6lcMk1I/AAAAAAAAA4M/VYK4SVT_cT4/s1600/TM9_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-GOkk-eH9df8/VOOX6vag6sI/AAAAAAAAA4I/ARh0AOny0Xo/s1600/TM14_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-GOkk-eH9df8/VOOX6vag6sI/AAAAAAAAA4I/ARh0AOny0Xo/s1600/TM14_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
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<a href="http://3.bp.blogspot.com/-kuxnUzwU5Cs/VOOX6LOYWTI/AAAAAAAAA4A/8i_JmYOJIl0/s1600/TM22_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-kuxnUzwU5Cs/VOOX6LOYWTI/AAAAAAAAA4A/8i_JmYOJIl0/s1600/TM22_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
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Oblivion<o:p></o:p></div>
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Project Oblivion shows the cyborg nature of the city. The
development of the city is self-generating, self-replicating and exists outside
of nature. The photographs were taken in Los Angeles and show the endless
suburbs. Maisel was inspired by the writings of Antony Vidler. In his book
Warped Space he is talking about the “panoramic space of modernism”. In his
photographs the endless suburbs cover or replace the landscape completely. <o:p></o:p></div>
<div class="MsoNormal">
The tonality of the images was inversed in order to abstract
the photographs. This way of editing refers to the way x-ray images work. X-ray
images show the order, the structure and organization of the object of
observation. <o:p></o:p></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-8_fzn84mvvo/VOOYWi0cuNI/AAAAAAAAA4g/y7QKTtky_6k/s1600/OBLIVION1n_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-8_fzn84mvvo/VOOYWi0cuNI/AAAAAAAAA4g/y7QKTtky_6k/s1600/OBLIVION1n_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-TNnZNQcQU2o/VOOYWtAObHI/AAAAAAAAA4k/4XA5_7Bqsno/s1600/OBLIVION2n_MAISEL2-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-TNnZNQcQU2o/VOOYWtAObHI/AAAAAAAAA4k/4XA5_7Bqsno/s1600/OBLIVION2n_MAISEL2-700x700.jpg" height="640" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-Q-gPjpDBXco/VOOYWglYg3I/AAAAAAAAA4o/uA6mLDwjHNw/s1600/OBLIVION3n_MAISEL1-700x700.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-Q-gPjpDBXco/VOOYWglYg3I/AAAAAAAAA4o/uA6mLDwjHNw/s1600/OBLIVION3n_MAISEL1-700x700.jpg" height="640" width="640" /></a></div>
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Conclusions<o:p></o:p></div>
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The work of David Maisel shows the conflicting relationship
between mankind and nature. The consequences of the extraction of natural resources
are visible in most of his work. In his photographs he is looking for what he
refers to as: ”the apocalyptic divine” <!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.CITE
<EndNote><Cite><Author>Maisel</Author><RecNum>9</RecNum><DisplayText>(Maisel)</DisplayText><record><rec-number>9</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">9</key></foreign-keys><ref-type
name="Web Page">12</ref-type><contributors><authors><author>David
Maisel</author></authors></contributors><titles><title>http://davidmaisel.com/</title></titles><volume>2015</volume><number>17-2</number><dates></dates><urls><related-urls><url>http://davidmaisel.com/</url></related-urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(<a href="file:///C:/Users/Arwin%20Hidding/Desktop/UCD/Disseminating%20architecture/David%20Meisel/Essay/David%20Maisel%200000011.docx#_ENREF_1" title="Maisel, #9"><span style="color: windowtext; text-decoration: none; text-underline: none;">Maisel</span></a>)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->, the beauty in absolutely
destructed landscapes. The paradoxal relationship between destruction and
beauty has fascinated Maisel for the last three decades. As he refers to it
himself: “A strange beauty that is born of environmental degradation”<!--[if supportFields]><span
style='mso-element:field-begin'></span> ADDIN EN.CITE
<EndNote><Cite><Author>Maisel</Author><RecNum>9</RecNum><DisplayText>(Maisel)</DisplayText><record><rec-number>9</rec-number><foreign-keys><key
app="EN"
db-id="pssz2fx2zdpdaxe0rd6pzxwrtfpsvpat9sxv">9</key></foreign-keys><ref-type
name="Web
Page">12</ref-type><contributors><authors><author>David
Maisel</author></authors></contributors><titles><title>http://davidmaisel.com/</title></titles><volume>2015</volume><number>17-2</number><dates></dates><urls><related-urls><url>http://davidmaisel.com/</url></related-urls></urls></record></Cite></EndNote><span
style='mso-element:field-separator'></span><![endif]-->(<a href="file:///C:/Users/Arwin%20Hidding/Desktop/UCD/Disseminating%20architecture/David%20Meisel/Essay/David%20Maisel%200000011.docx#_ENREF_1" title="Maisel, #9"><span style="color: windowtext; text-decoration: none; text-underline: none;">Maisel</span></a>)<!--[if supportFields]><span
style='mso-element:field-end'></span><![endif]-->. The goal of his work is to
alter the relationship to the landscape and our understanding of its history.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Arwin Hidding<o:p></o:p></div>
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<o:p><br /></o:p></div>
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References</div>
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<o:p></o:p></div>
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<!--[if supportFields]><span
style='mso-element:field-begin'></span><span
style='mso-spacerun:yes'> </span>ADDIN EN.REFLIST <span style='mso-element:
field-separator'></span><![endif]--><a href="https://www.blogger.com/null" name="_ENREF_1">Maisel, D. </a><a href="http://davidmaisel.com/">http://davidmaisel.com/</a>. Retrieved
17-2, 2015, from <a href="http://davidmaisel.com/">http://davidmaisel.com/</a><o:p></o:p></div>
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Anonymoushttp://www.blogger.com/profile/11087978089088916117noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-71969794162860737492015-02-17T19:22:00.000+00:002015-02-17T19:25:05.116+00:00World War I, the start of aerial photography<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/--tr4rLd5TDU/VOOTByvGE5I/AAAAAAAAABo/Nti0d5oVo-8/s1600/precedent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://2.bp.blogspot.com/--tr4rLd5TDU/VOOTByvGE5I/AAAAAAAAABo/Nti0d5oVo-8/s1600/precedent.jpg" height="352" width="640" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">PRECEDENTS<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">The first
use of an airplane war was a reconnaissance flight performed on 23 October 1911
by Captain Carlo Maria Piazza in a Blériot XI during the Italo-Turkish War in
Tripolitania. Piazza, of the Italian forces, had a camera fitted to his
aircraft, pointing vertically downwards, as it was a plate camera and the pilot
could not reach it, only one image per flight could be taken.<o:p></o:p></span></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-MrYpwM4coZY/VOOTMJsZRqI/AAAAAAAAABw/e2Kd5iEXYPg/s1600/France%2B-%2BTilloy%2C%2B1917.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://3.bp.blogspot.com/-MrYpwM4coZY/VOOTMJsZRqI/AAAAAAAAABw/e2Kd5iEXYPg/s1600/France%2B-%2BTilloy%2C%2B1917.jpg" height="238" width="320" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Military
aerial photography began that December. Reconnaissance was widely perceived as
the only practical use of airplanes. While most of the combatant countries
possessed a few military aircraft in August 1914, these were almost exclusively
devoted to reconnaissance and artillery spotting of the enemy. Leaving balloons
and kites behind, balloons could ascend to as high as a mile, but were easy to
shoot down. Furthermore, they were unstable observation platforms in any wind,
leading to attempts to stabilize them with kite-tails or drogues attached to
the basket. </span><span style="font-family: Arial, Helvetica, sans-serif;">Aircrafts at this time flew at about 12,000 to
18,000 ft. over the ground. Every country tried to spy and look over their
enemies. Pilots average lifetime after enrolling war was 11 days. It was not
much better than being in the battlefield.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">In Britain,
the Royal Flying Corps was founded in April 1912 and it was not until March
1913 that a Unit was set up to look at the 'novel' theories of aerial
photography. Funds at this time were very short and if it was not for a few
enthusiastic amateurs, aerial photography could have never started in the RFC.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">Members of
3 Squadron RFC had to purchase their own cameras, they devised a Pan-Ross type
camera with a 6in lens, this was to become the standard RFC camera until 1915.
The crews had to developed the grass plate negatives in the air, so on landing
they would be ready to print, the faster the information was spread the better.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">When the
RFC sail to France at the start of World War I, they had only six cameras in
their inventory.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">HOW WERE
THE CAMERAS LIKE?<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-bKZpmhyqVSQ/VOOTU3VjffI/AAAAAAAAAB4/R5oSq3s_7Lg/s1600/German%2Bcameras.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://2.bp.blogspot.com/-bKZpmhyqVSQ/VOOTU3VjffI/AAAAAAAAAB4/R5oSq3s_7Lg/s1600/German%2Bcameras.jpg" height="260" width="320" /></span></a><span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">There were
nor many types of camera, in fact, the working process was the same in every
camera, they had no view screen and most of them were plate cameras. Every
country developed their cameras in different ways, so they were larger or in
different forms. </span><o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">France had
the deMaria cameras, a 50cm one and a larger one, 120cm. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">North
America had a called type M camera.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Britain with
its type C camera, started to change the form, it was more compact and in a
different shape.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Italy was
the first country that had an anti vibration camera, the Lampertini, this was
very helpful, as these cameras were attached to the aircraft and pilots could
not see what they were photographing.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">The German
cameras were very similar to the French; they had in their inventory the F70,
F50 and F25.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">HOW WERE
THEY ASSEMBLED?</span><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-f14BpVOz1Cc/VOOTbUcEIbI/AAAAAAAAACA/MHyyYmpb8jM/s1600/Type%2BA%2Bcamera%2C%2B1916.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://4.bp.blogspot.com/-f14BpVOz1Cc/VOOTbUcEIbI/AAAAAAAAACA/MHyyYmpb8jM/s1600/Type%2BA%2Bcamera%2C%2B1916.jpg" height="460" width="640" /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">In 1915 the
'A type' camera was developed, being a hand-held device, the user on a number
of times almost fell out of the aircraft taking photos. Mostly there was a
one-person aircraft and taking pictures at the same time as piloting was a
challenge. </span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-FI4xYwn2k78/VOOTipoqCbI/AAAAAAAAACI/agJCE6YNohc/s1600/L%2Btype%2Bcamera.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://1.bp.blogspot.com/-FI4xYwn2k78/VOOTipoqCbI/AAAAAAAAACI/agJCE6YNohc/s1600/L%2Btype%2Bcamera.jpg" height="167" width="200" /></span></a><span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">In the
summer of 1915 the 'C type' was developed, it used the body of the 'A type'
however, it had a semi-automatic plate changing system made up of two magazines
placed on top of the camera. Now that magazines were fitted, imagery could be
taken in rapid succession and if a 60% overlap was obtained between each frame,
pairs of images could be viewed through a stereoscope to produce a 3D effect.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">After some
more developments the British forces came with the L type camera that could be
placed inside the aircraft making this task easier and faster. The aircraft had
a hole on the bottom so the camera was placed between the user legs and facing
downwards, vertically to take the pictures.</span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">VERTICAL
AND OBLIQUE IMAGES<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-6b4sm8HanfQ/VOOTy4jQqSI/AAAAAAAAACQ/gHw-WguGU-g/s1600/Aerial%2Bmapping%2Bcamera%2C%2BFairchild%2BT-2A.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://2.bp.blogspot.com/-6b4sm8HanfQ/VOOTy4jQqSI/AAAAAAAAACQ/gHw-WguGU-g/s1600/Aerial%2Bmapping%2Bcamera%2C%2BFairchild%2BT-2A.jpg" height="168" width="200" /></span></a><span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">Major James
Bagley brought his recently invented tri-lens camera to France, where it was
used to make one vertical and two oblique images from airplanes. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;">These
images were used to overprint enemy trenches and gun emplacements over existing
maps for precision targeting. <o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-spacerun: yes;"> </span>Fairchild Aerial Camera Corporation built the
production model of the T-2 and T-2A four-lens camera, which improved upon the
T-1 tri-lens mapping camera developed by Major James Bagley of the U.S. Army
Signal Corps. The T-2A had one vertical lens and three oblique lenses set at 35
degrees, which provided a 120-degree field of view at right angles to the
direction of flight. <span style="mso-spacerun: yes;"> </span>This was a huge
development in photography and helped to understand better the context and
battlefield and its surroundings. </span><o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><br /></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; mso-ansi-language: EN-GB;"><span style="font-family: Arial, Helvetica, sans-serif;">Aitana
Pérez Palmerín</span><o:p></o:p></span></div>
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Space Framedhttp://www.blogger.com/profile/00967245435786608105noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-3241168147173655002015-02-17T18:49:00.006+00:002015-02-17T19:13:38.954+00:00The relationship between old and new; the phoenix rising<div class="MsoNormal">
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<span style="font-family: Arial, Helvetica, sans-serif;">Around 1913 the city Dublin needed a lot of repair. The
phoenix is Dublin, the city rising from the ashes. The panorama was designed to show the
contrast between the old and the new city. The panorama intends to show what
was, what could have been and what is. The background which represented the old
was a black and white panoramic image of a street in Dublin. This image
contained no people and the streets appear empty. Moving people and cars are
projected on a part of this background image. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The intended contrast between old and new was in my opinion
hindered by the fact that the background image was a black and white image of
the modern city. The image contained storefronts with modern adverts, a very
modern BMW on a parking spot, surveillance cameras, modern traffic signs,
scooters and other modern objects. In this sense the link between past and
present is missing.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When the panorama is entered it felt like one entered
another world, one was submerged in a projected reality. The sound of the
street outside mixed with the sound of the projections and it became unclear
what was real and what was projected. This strengthens the experience of being
submerged into another world. When the projector rotates the shadow of the
viewer is projected on the screen, which made the viewer part of the projected
reality. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">On the outside of the panorama information was shown about
Dublin before 1913. The images of the children walking around on their bare
feet in the ruins of the city were very strong images. These images really
showed the contrast between what was and what is. If the background image in
the panorama was an image similar, it would have been a stronger experience
since the contrast between old and new is much greater. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">Arwin Hidding<o:p></o:p></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;">14207953</span><o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/11087978089088916117noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-92074667808539966712015-02-17T14:30:00.000+00:002015-02-17T13:40:43.386+00:00Andreas Gefeller<div class="p1">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-NBkBjdyhTgo/VOMvc0wQ7dI/AAAAAAAAABI/h5uC3KKIC0I/s1600/AG%2B6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-NBkBjdyhTgo/VOMvc0wQ7dI/AAAAAAAAABI/h5uC3KKIC0I/s1600/AG%2B6.jpg" height="272" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crosswalk Paris, 2002</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: Arial, Helvetica, sans-serif; text-align: center;">Andreas Gefeller is a contemporary photographer from Germany. In his series ‘Supervisions’ Gefeller documents the ground from an aerial perspective not possible through the human eye. To achieve these images Gefeller uses an elevated tripod attached to his body which holds the downward focused camera. Gefeller carefully captures images of each piece of ground within a grid and later stitches them together on a computer. These images are sometimes composed of thousands of separate exposures. This leads to large highly detailed compositions. Gefeller compares his work to that of a scanner “</span><i style="font-family: Arial, Helvetica, sans-serif; text-align: center;">I worked as a scanner”. </i><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The images display ordinary scenes in a completely new way. Gefeller notes how the images are real as everything depicted in them exists but also unreal as this perspective is not possible through the human eye. This method forces the viewer to look at the ordinary in a new light. They have an almost painterly quality and in the case of some of the internal compositions are almost unnerving in their false reality. Gefeller purposely excludes people from this series “<i>My pictures depict only what people have left behind”. </i>In many of the shots there is an eerie sense of emptiness <i>“My images don’t give you a sense that people have left this place and will soon return. Instead and what is more disturbing, they make you think they were taken at a point far in the future - after man has left the earth”. </i>Gefeller is confronting mans impression on the world. In a number of the images he documents the order man has put on the world and mans attempt to organise space “<i>If you look at these works carefully, you’ll note that many were taken at places where man has arranged everything in rows: fences, stadium seats, crosswalk lines. This reveals an obsession with asserting control over the natural environment”.</i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The ‘Supervisions’ series is best experienced in a gallery setting. Large prints allow a physical zoom of the viewer from different points. From afar the images appear to have been taken at a much higher viewpoint but in closer inspection the detail rich compositions betray the painful method used in their construction.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In the series blank Gefeller manipulates satellite photos to show mans colonisation of the globe. By using night images he is able to show the sharp contrast between the illuminated “..<i>Tentacle-like structure..”</i> of the streets and roads in comparison to the black space which is everything else and never ending. Again Gefeller is showing mans footprint on the globe and mans persistence in applying order to the natural world. These images as well as those in ‘Supervisions’ also play on the theme of surveillance, the idea of constant observation at all levels. The two series compliment each other in their exploration of these themes covering different scales.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-54686539798113217882015-02-17T13:35:00.000+00:002015-02-17T17:32:22.399+00:00City,Assembled_Re-Imagining the City<span style="font-family: Arial, Helvetica, sans-serif;">The moving panorama was a ‘globalizing’ medium which could communicate the experience of the genius loci of distant cities and landscapes to a local audience. The images formed a continuous ‘panoramic’ landscape ‘view’ or a specific vantage point within an urban setting, quite often ones own city. The ‘views’ which brought the ‘natural’ landscape into the city were synonymous with a return to a bucolic setting where one can process the absorption of oneself into the natural world, to feel the escarpment of the land, the ineluctable idea of viewing a landscape before if was so readily crossed. The panorama offered itself as a virtual vehicle to visit these distant lands without having to force the spectator to endure the trouble, or expense of locomotion. A prerequisite of the panorama as an exhibition was that it made the spectator walk around it, promoting the idea of the </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 18.2000007629395px;"><a href="http://www.theparisreview.org/blog/2013/10/17/in-praise-of-the-flaneur/" target="_blank">Flâneur</a></span><span style="font-family: Arial, Helvetica, sans-serif;">, a term which had been popularised by the works of <a href="http://en.wikipedia.org/wiki/Charles_Baudelaire" target="_blank">Baudelaire</a> during the 1850’s. The panorama transformed the town setting in landscape, giving it a feeling of its own mondial quality which was essential to the mobile visual experience of the </span><span style="background-color: white; font-family: Arial, Helvetica, sans-serif; line-height: 18.2000007629395px;">Flâneur</span><span style="font-family: Arial, Helvetica, sans-serif;">. This succeeded in disseminating the boundary between audio visual media in the mid 18th century and consequently brought about the formation of the ‘wired world’ and was seen as the symptomatic </span><span style="font-family: Times, Times New Roman, serif;">‘cultural rupture’</span><span style="font-family: Arial, Helvetica, sans-serif;"> of the era. The re-organisation of the regime of the visible.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The premise of the <a href="http://panoramacouncil.org/what_we_do/fields_of_activities/moving_panoramas/" target="_blank">moving panorama</a> is to transport the audience to a place which exists beyond the horizon, the quintessential desideratum of which being the dissolution of existing boundaries between local and global. It communicates the temporality of the ‘dasein’, drawing upon time to illuminate and interpret the visual imagery of ‘place’. It is interesting that around the same time as the advent of the moving panorama there was a parallel invention, the </span><span style="font-family: Times, Times New Roman, serif;">‘<a href="http://en.wikipedia.org/wiki/David_Brewster" target="_blank">Brewster Stereoscope</a>’</span><span style="font-family: Arial, Helvetica, sans-serif;"> in 1851, which although comparable in its objective to satisfy the desires of seeing objects on a global scale it achieved this in a much more introverted process. It in a sense removed the collective public ritual of viewing a moving panorama, individually distilling experience to a single viewer. The spectator has the prescience to understand both of these virtual vehicles were not real time experiences, which dulled the sense of presence in a place. The modern </span><span style="font-family: Times, Times New Roman, serif;">‘wired world’</span><span style="font-family: Arial, Helvetica, sans-serif;"> gives use this synchronous here and now experience, visual media is piped, absorbed and replaced within our attention cortex at all possible moments; radio, television, and the internet plug us into this world daily. </span><br />
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<span style="color: #666666; font-family: Times, Times New Roman, serif;"><i>“The panorama can be read as a novelty on different levels: physical (the rotunda as an urban landmark), mental (new mode of virtual and immersive experience), commercial (capitalist enterprise), ideological (vehicle for nationalism and imperialism), communicative (panorama as a “mass medium”) and discursive (cultural metaphor)”.</i></span><br />
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<span style="background-color: white; color: #666666; font-family: Times, Times New Roman, serif; font-size: x-small;">Erkki Huhtamo , Global Glimpses for Local Realities</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The ‘wired world’ has developed and impacted upon people, both physiologically and collectively. It conforms to the paradigms of imaginative experiences which we have had in the past, acting as a presage to our thinking on the digital and virtual world which we now inhabit and interact with. The engagement with digital visible media is not immediately apprehensible to the senses and it is initially inchoate to the spectator. I entered the moving panorama with the prescience of its content, I had already understood the narrative of its medium and content before I had ever set foot into the ‘Hall’ of the <a href="http://www.igs.ie/conservation/project/city-assembly-house-a-history" target="_blank">City Assembly House</a>, a venue which I had researched and understood through drawings and writings, rendering it to me, as a room which was once for exhibition, art, music, drama and the disputatious academics. A room which was once home to the boulevardiers of the city, now returned to its collective. Laying Dormant. I first visited the exhibition during its set up, where I viewed the exhibition in its ‘constructing’ stage, where only the timber structure existed. I then visited the ‘completed’ exhibition with a small group of people, We moved straight from the entrance to the hall, anti clockwise through to the ‘nucleus’ of the exhibition, the moving panorama. It was the first time that I had seen the functioning ‘moving panorama’, understanding it primarily as an inexorable process of a looped moving video in the infinite conscious of the individual and consequently as a collateral descendant of the fixed image panorama. The use of the video helps soften the rigid dichotomy which exists between digital and print media, it allows for imperfections, spectra and alterations in scale. By scale, I mean the distortion and disorientation that is created by a moving image being projected on a cylindrical canvas. After a quick introduction on its workings by the creators of the exhibition, I had a quick walk around the exhibition to try and absorb the density of information which was made available. I did not succeed then, or thereafter, consequently. I left the exhibition understanding that I must return to invigilate for one evening.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">4 hours. Four hours allows for the immersion into the exhibition, to feel the absolute phenomenology of the panorama. It is an exhibition which is free from rhetoric or romantic conceit. It recapitulates the exhibition as a collective and un-collective experience, in one sense, revealing the spectator to have always had an ulterior collective imagination. Obversely, It an experience which I found to be fragmenting and anomic, heightening the feeling of ones own autonomy within the ‘space’. Very few people in Dublin have experienced this part of city as an empty street, which when coupled with the temporal simultaneity of the ‘populated’ moving image over the fixed panorama gives one a greater impression of the city as a collective consciousness. It contains no moral message, only simply to think for oneself, vesting the meaning onto the shoulders of the spectator. To observe is to understand, as we cannot denote reasoning which is deducted from theoretical content, as opposed to observation and experience. The process of invigilating </span><span style="font-family: Times, Times New Roman, serif;">(observing)</span><span style="font-family: Arial, Helvetica, sans-serif;"> gives one the time to develop theories and draw conclusions. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The spectators came to the exhibition without any </span><span style="font-family: Times, Times New Roman, serif;">‘a priori’</span><span style="font-family: Arial, Helvetica, sans-serif;"> assumptions of how to interpret its content and meaning. They may view it as enigmatic or with cognizance. Upon arrival to the entrance of the ‘Hall’, the spectator is greeted with the ‘aspect’ of the exhibition. Here, one is given a choice, to ask the invigilator where the exhibition starts, or to make that decision for themselves. I noticed that many spectators took a much more ‘laissez-faire’ attitude to the navigation of the exhibition. Those that took this approach did not see the position of the invigilators desk as an ‘impasse’ but more of an ‘addendum’. The movement and interaction of people within a space is the </span><span style="font-family: Times, Times New Roman, serif;">‘raison d’etre’</span><span style="font-family: Arial, Helvetica, sans-serif;"> of architectural theory. The advancement of the spectator through the exhibition occurs around the ‘exterior’ of the panorama structure, here, information regarding the <a href="http://www.rte.ie/centuryireland/articles/huge-crowds-visit-exhibition-in-dublin" target="_blank">Civic exhibition of 1914</a> is made available in both hard copy and through the media of digital representation, highlighting the contrast in ‘modernity’ during its 101 year dormancy. This mechanised form of ‘disseminating’ dense information is relying on the spectator to fully engage with the content, which is conceited. Many viewed these displays quickly for this reason. The circumambulation of the structure is continued around the structure, until one reaches a divergence from the ‘true’ course of the tangential to the ‘circle’, where they enter into the ‘interior’ of the panorama. On view to the spectator is the fixed image of the city, an image of South William Street, an image which was fresh in there mind only moments ago. The re-imagining of the immediate exterior ‘street scape’ within the interior. It is a representation of the cites deep topography and re-identifies the spectator with their environment. The ‘spectre’ of the moving image which inexorably moves around the panorama coupled with the composition of the accompanying sound induces oneself to become lost in a reverie, consequently bringing ‘life’ to the fixed image. The ‘synaesthesia’ of the exhibition is created through the deliberate use of the euphonious sounds of a street full of life and the unintended but inherent temperature of the room. While the spectators seem unperturbed by the temperature of the space, due in part to their ‘momentary’ visit, I found that the biting cold added to ones immersion into the exhibition. The effect of the sound is nuanced by the proximity and physical location of the listener with respect to the geographical point of the original sound recording. This leaves one feeling a profound sense of feeling ontologically disorientated, an unsureness of what is reality and what is ‘virtual’ reproduction. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The ephemerality of the panorama structure is in stark contrast with its surroundings, as the ‘Hall’ of City Assembly House bares its time ‘weathered’ surface to all. The room has been partially excarnated of its stucco finish, it’s flesh if you will, leaving behind its bare bone and thread bare brick structure. The imagined empty ‘space’ of the hall would feel like a thanatological study of the room, showing its history in layers, its birth, its death and its re-incarnation as an exhibition space for the collective. This temporality of the structure allows one to think of it more ‘laterally’, maybe as a sculpture rather than a digital media installation, to contemplate the exhibition under different light and conditions as the evening moved on. A re-imagination of the views available to the spectator at floor level, to views which were of the original axiom that brought the panorama to the landscape to the city in the mid 19th century, the elevated perspective. If one were to view the entire exhibition from a point above the installation, to fully understand it’s context within the space, we could truly see the distinctive lineaments of the spectators as they move like modern day </span><span style="background-color: white; color: #545454; line-height: 18.2000007629395px;"><span style="font-family: Times, Times New Roman, serif;">Flâneurs</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> through the exhibition. How they navigate and interact around the ‘heliopause’ of the structure and also within the nucleus of the panorama. Maybe it would give an inclination to the exhibition as a collective experience, or alternatively , as a more fissiparious and introverted one. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The </span><span style="font-family: Times, Times New Roman, serif;">‘de res gestae’</span><span style="font-family: Arial, Helvetica, sans-serif;"> of this panorama was to distil and animate the historic fabric of the urban environment, narrated by the collective of the time, to remind the collective Irish psyche of the fact that this is not our past, but what is <a href="http://www.irishtimes.com/news/social-affairs/prefabs-may-be-used-to-tackle-housing-crisis-in-dublin-1.1928859" target="_blank">happening right now</a>. It brings contemporary anxieties to the forefront of the collective mind, without equivocation it embraces the affectless nature of the <a href="http://www.theguardian.com/commentisfree/2012/mar/30/guy-debord-society-spectacle" target="_blank">city as a spectacle.</a></span><br />
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<span style="background-color: white; color: #666666; font-family: Times, Times New Roman, serif;">“the tangible world is replaced by a selection of images which exist above it, and which simultaneously impose themselves as the tangible par excellence.”</span><br />
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<span style="background-color: white; color: #666666; font-family: Times, Times New Roman, serif; font-size: x-small;">Guy Debord, The Society of the Spectacle</span><br />
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<span style="background-color: white; color: #444444; font-family: Arial, Helvetica, sans-serif;">Kevin O'Brien</span></div>
Kevin O'Brienhttp://www.blogger.com/profile/18016992057485366629noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-44770576779586473292015-02-15T15:39:00.000+00:002015-02-15T15:39:02.429+00:00<div style="-webkit-text-stroke-color: rgb(220, 89, 34); -webkit-text-stroke-width: initial; color: #dc5922; font-family: Baskerville; font-size: 32px; text-align: left;">
City, Assembled, Moving Panorama </div>
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inspired by the Dublin Civic Exhibition 1914</div>
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The exhibition aims to portray Dublin then and now using one space, to create a re-imagination of Dublin's city planning. On entering the space one is confronted by a large octagonal volume with a timber structure filling the space. One is guided around the space to the panorama entrance at the back of the room, bringing a sense of anticipation of what lies inside. Within the moving panorama space one is placed at the crossroads on South William Street. Although the video slightly trails behind the panorama photograph, this adds a sense of movement within the street bringing it to life. </div>
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The noises of everyday life helps one imagine they are actually standing on the street especially if there alone, one is unsure what is real and what is being played for effect. The space itself is extremely cold but without this thermal element perhaps it would be more difficult to image standing in Dublin City. </div>
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Watching people move throughout the exhibition space one observes how each individual experiences the exhibition differently. Some walk quickly to the panoramas entrance almost to excited to find what awaits inside. While others enjoy the suspense, reading methodically the information around the space. Many people described a hypnotic sense while in the the moving panorama, leaving them disorientated once they emerged</div>
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There is great contrast between day and night within the moving panorama. Durning the day one is more aware of the room the panorama fills, it's glazed ceiling, bare walls and ornate windows. At night the panorama controls the space and all attention is on it. When the space is filled with people many shadows are cast on the screen, filling the street with people. However when you are in the panorama completely alone, one can totally immerse ones self within the true experience of everything the morning panorama has to offer. </div>
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<span style="-webkit-text-stroke-width: initial;">Christina Kerr</span></div>
Anonymoushttp://www.blogger.com/profile/17375735132972952779noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-3859047506808819322015-02-11T10:58:00.000+00:002015-02-11T16:12:42.476+00:00Space Frame: A Response<div class="MsoNormal" style="line-height: 18.0pt; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";">Orbiting around the outer walls of the
exhibition, images of the hardships in Dublin transport you into
the past. The images give a shock factor, that continue to linger in the memory
as you circle. Light passes through the canvas image, like a lighthouse beam
scanning the space, the noises also pass through, faint and muffled.</span><br />
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";"><br /></span>
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";">It feels like something of the past,
rather than the present, like you are in someone’s memory of being on William Street.
An Abstracted way of looking at the world there is something beautiful about
the way the projection finally comes around to you, almost accidentally
projecting your silhouette onto the street. Your there, as an abstruse
perspective in a different dimension, seeing yourself as part of a memory of
this street. There is a notion of time, the circular, repetitive rotations of
60 seconds evoke some feeling of time travelling.</span><br />
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";"><br /></span>
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";">Unintentionally, but to great effect,
the fact the room temperature is almost less than that of outside, making you
feel like your on the street. It heightens the senses and brings you to a place
where you try to understand your roll in the city, how you use it, what you see
and miss, the ordinary.</span><br />
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";"><br /></span>
<span style="font-family: "Helvetica Neue"; font-size: x-small; mso-bidi-font-family: "Helvetica Neue";">The loop of just under an hour, means
you are stuck, stuck in William street forced to replay the same hour over and
over again. Purgatory. The image no longer overlays onto the photo, but it just
a few seconds too fast, I wonder how many hours/ days/ weeks it would take for
it to catch up again.<span style="mso-spacerun: yes;"> </span></span></div>
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<!--StartFragment-->
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/01393590732761900345noreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-1285414555214394702015-02-11T09:29:00.000+00:002015-02-11T09:29:03.125+00:00City: Assembled : Response<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;">When I was walking in
the <a href="http://cargocollective.com/cityassembled">gallery</a>, I was really interested by the structure and the idea of
exhibiting photography for the public. I thought that taking a
photograph is a part of the work, but presenting it is really
important. The scale one to one of the <a href="http://cargocollective.com/cityassembled">panorama</a> makes that work even
more interesting since you have to think of the distance between the
visitor and the picture, their relation…
</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br />
</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;">I looked at different
historic building, constructed to accommodate panorama, such as
<a href="http://en.wikipedia.org/wiki/Louis_Daguerre">Daguerre’s dioramas</a> or <a href="http://en.wikipedia.org/wiki/Cyclorama">cycloramas</a>. These structures may appear a
bit dated today since they were really famous at the end of the
nineteenth century. However, I wondered if this type of constructions
still exists today or if you can find contemporary constructions.
Thus I looked at different projects.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-PhDXLWpkLW0/VNsfttjicUI/AAAAAAAAAAM/LLUyv2ERFqo/s1600/gal-2903616.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-PhDXLWpkLW0/VNsfttjicUI/AAAAAAAAAAM/LLUyv2ERFqo/s1600/gal-2903616.jpg" height="424" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;"><span style="color: #999999; font-family: Arial, Helvetica, sans-serif;"><i style="background-color: white;">Panorama XXL, Rouen - exterior</i></span></td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;">One is a new rotunda
that just opened in December 2014 in the quays of Rouen (France). It
is called ‘’<a href="http://www.panoramaxxl.com/en/">Panorama XXL</a>’’ and is used to exhibit the work of
the German artist <a href="http://www.asisi.de/en/yadegar-asisi/artist.html">Yadegar Asisi </a>who does <a href="http://www.asisi.de/en/yadegar-asisi/idea.html">panoramas</a> in different sites
around the world : Rome, Berlin, Amazonia, Everest. The visitor is
invited to climb on three different platforms (6m, 12m and 15m) in
order to observe the picture of 32 meters high, the equivalent of a
building of 12 stories, with a circumference up to 110m. A structure
was built between May and November and it was dedicated only for his
work.</span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-pp7XfXUc978/VNsfwwX6jsI/AAAAAAAAAAU/iCc9V3LoNhU/s1600/DP_Panorama_mars2014-3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-pp7XfXUc978/VNsfwwX6jsI/AAAAAAAAAAU/iCc9V3LoNhU/s1600/DP_Panorama_mars2014-3.jpg" height="449" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;"><i style="background-color: white; color: #999999; font-family: Arial, Helvetica, sans-serif;">Panorama XXL, Rouen - exterior</i></td></tr>
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<div class="western" style="margin-bottom: 0cm;">
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;">To my mind, these
different structures appear as a way to experience photography, not
only to observe it as a spectator but also to ‘live the
photography’. Thus, you need a transition between reality and that
kind of space. In the project of Rouen, the public walks into dark
corridors before arriving to the rotunda, in order to lose their
spatial awareness. In the <a href="http://cargocollective.com/cityassembled">City : Assembled</a> Panorama gallery, the
surrounding space is thought as an area to exhibit 1914 documents but
can also be seen as an area of transition before the main panorama.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm; text-align: right;">
<i><span style="color: #999999; font-family: Arial, Helvetica, sans-serif;">- Hélène Guillemot</span></i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-22180099315688721962015-02-11T09:08:00.000+00:002015-02-11T09:46:03.988+00:00Phoenix Rising: City, Assembled, response<div style="font-family: Helvetica;">
Three architecture students <a href="https://cityassemblyhousepano.wordpress.com/">started to develop</a> in ’Disseminating architecture 14’ the idea of representing the area of the City Assembly House. </div>
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A wooden circular structure carries the content of the <a href="http://cargocollective.com/cityassembled">exhibition</a>. This impressive construction absorbs the meters high old space. My first thought was how carefully the proportions of this timber construction must have been selected for the exhibition space.</div>
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The exterior part shows the photographs and digital information explaining how the <a href="http://www.rte.ie/centuryireland/articles/huge-crowds-visit-exhibition-in-dublin">Civic Exhibition 1914</a> inspired the work as well as the process of the entire project. Carefully selected photographs from the past bring out the ’<a href="http://mitpress.mit.edu/books/city-collective-memory">City of Collective Memory</a>’ by pointing out the problems of the first half of the twentieth century. The inside is covered by an immersed panorama photography layered by video recording of the same place. </div>
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The way how both medias interact with each other has been extremely inspiring and reminds me of <a href="http://www.magyaradam.com/">Adam Magyar</a>’s work ’Stainless (video)’. In my judgement their color saturated layering structure can be compared to a relived moment, memory. The projector only can project a certain surface for a certain point of time. The video incorporates the captured moments. The panorama photograph feels static and empty due to the lack of people walking along the street. Through video recording the entire panorama feels ’alive’. Through this multi layering I felt like a flâneur, enjoying the sounds, spatial and light intensity.</div>
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The students of ’Disseminating architecture 15’ have been asked to invigilate ’City, Assembled’ for one afternoon in the space of time of 26 January until 8 February. This experience felt more intensive because of the cold coming in from the outside. It felt like being on the street being part of South William Street. Additionally the daylight entering the room influenced atmosphere of the installation.</div>
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<i>- Asal Mohtashami</i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-5018905723230046085.post-81763682146755363692015-02-07T19:36:00.003+00:002015-02-11T08:59:15.066+00:00City, Assembled Panorama responseThe structure of the exhibition works with the circular room to create a circulation route, direction and central display. The first level of immersion occurs before entering the room by the sounds of the video recording. At times it seems to echo the street outside and the boundary between is somewhat removed. As I followed the exhibition around the central structure the sound continued to animate the space and every so often the projected image would cast a moving light creating a level of anticipation for the yet to be discovered panorama. Stepping into the circular room the sound unites with the image and anchors you into the space. The empty monochrome image showcases the built form of the street in a way that is difficult to recognize during the normal hustle and bustle. Projected against this is where we have just come from an atmosphere of movement, sound and color. The clash between the two pieces creates an eerie atmosphere which is strange in its realism. The image and the video each show different representations of the same place. Individually they are restricted but together they are impressive in the totality of how they reproduce the space. From the centre of the room the scale as well as the peripherally of the image anchor you in the street. Time too plays a factor in the immersion. As you follow the video in real time around the room you enter the street. One rotation takes approximately 60 seconds around the circular space like a giant clock. The space is engaging at all times of the day but especially so after sunset when the video becomes more clear and the contrast stronger. It was interesting to watch the transition of how the space felt from light to dark.Unknownnoreply@blogger.com0