Details van artikel 145 van 172 gevonden artikelen
Spaces of vision: architecture and visuality in the modern era
Titel:
Spaces of vision: architecture and visuality in the modern era
Auteur:
Ozkaya, Belgin Turan
Verschenen in:
Architectural theory review
Paginering:
Jaargang 12 (2007) nr. 1 pagina's 2-7
Jaar:
2007-08
Inhoud:
The film has enriched our field of perception with methods which can be illustrated by those of Freudian theory. … Since the Psychopathology of Everyday Life things have changed. This book isolated and made analyzable things which had heretofore floated along unnoticed in the broad stream of perception. For the entire spectrum of optical and now acoustical, perception the film has brought about a similar deepening of apperception. … By close-ups of the things around us, by focusing on hidden details of familiar objects, by exploring commonplace milieus under the ingenious guidance of the camera, the film, on the one hand, extends our comprehension of the necessities which rule our lives; on the other hand, it manages to assure us of an immense and unexpected field of action. Our taverns and our metropolitan streets, our offices and furnished rooms, our railroad stations and our factories appeared to have us locked up hopelessly. Then came the film and burst this prison-world asunder by the dynamite of the tenth of a second. … Evidently a different nature opens itself to the camera than opens to the naked eye—if only because an unconsciously penetrated space is substituted for a space consciously explored by man … The camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.1 Walter Benjamin I have never set foot in scores of buildings in scores of towns, but they are familiar to me. I know thousands of buildings, streets and cities, not from any tactile encounter, but through trips in vehicles and through images taken by cameras. Not long ago I spent an entire day viewing architecture on the run. Downtown, in a major industrial city, I boarded an elevated train that skimmed by walls, rooftops and antennae and in sight of faraway towers. At the airport, I boarded a plane and, viewed from aloft, that same city receded into the geometries of line and plane. Airborne, I watched a film that transported me to a car chase through the streets of Mexico City. On the ground in a new city, the walk to baggage claim took me past an exhibit of sepia photos of Victorian storefronts. The cab ride from the airport wheeled me back into the present along a strip-malled highway, its signs looking like colorful tinted cellophane through the windshield. At the end of the day, in a motel, a cable news station broadcast pictures of a volcanic eruption that had destroyed the town of Goma in the Congo, red lava submerging houses on the large screen just a few feet from my bed. I was in the zoomscape all day—a largely optical mode of perception characterized by speed and surface.2 Mitchell Schwarzer
Uitgever:
Routledge
Bronbestand:
Elektronische Wetenschappelijke Tijdschriften
Details van artikel 145 van 172 gevonden artikelen
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