sexta-feira, dezembro 13, 2013

extending space and time

The Extension of Space and Time through the Expansion of the Format

Other artistic concepts attempted to reach an extension of space beyond our limited eye view. Panoramas, that were discovered at the end of the 19th century, string together spatiality and break the central perspective through isometry or through vanishing points in the painting. In those days one could document landscape exactly through the use of technical aids such as the pin-hole camera. Naturally the reality of a panorama was limited to the the human's eye view so that in the process of viewing the viewer had to turn on his/her own axis. Thus the illusion of a real landscape was evoked for the viewer. This effect must have been even stronger with the moving panoramas, which, in front of the audience, were slowly hauled from one roll placed on one side of the stage to another one on the other side, for example to simulate the movement of a ship. Thus panoramas can also be seen as the precedents for films and motion rides.

Panoramas represent therefore not only the extension of space through the positioning of stringing space together but also the extension of time through the build-up of chronological time. The simulation of a boat trip down the Mississippi was both a sequence of spaces and actions within a clearly defined time period.
Although moving panoramas are nothing but stills proper, they helped to produce the illusion of movement by causing the viewer to move his/her eye over the picture, getting a notion of time sequence, or by moving the viewer him/herself, or the canvas.

In photography the slit camera enabled the organisation of time on a plane. The camera takes only a vertical line, a minimal section of space over a restricted time-span. The result is the documentation of different time periods on one plane based on a cut through the space.

in - 'Space-Time Correlations Focused in Film Objects and Interactive Video'
by Susanne Jaschko (read more)

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