The aim is to explore possibilities of ambivalent conditions by observing the phenomenon of shadow. The goal is to develop a methodological approach that would expand the understanding and perception of the phenomenon and the effect of light as architecture. In broader sense, this process should deal with concept of borders: elusiveness and distortion in shifted condition.
Friday, July 1, 2011
see from the inside / danka krstic
Shadow is nothing but reflection of light from the object. If that object doesn't reflect light, we see it as dark object. Like black color. Since Black color cannot reflect light, it is seen as dark. But when we catch an object from the inside of camera we can see things differente. That was what I have done. I pull away my objective and I started to video some things – traffic, tv, mouse of computer. See from the inside is maybe something that you cannot see but some other people can, or that’s the way they see traffic or tv….This is not usual way to represent a shadow but it’s a very good way. We can see all the light’s and darknes, but again on the other way. When you film without objective you see things like only a light and a dark, colours, but when you put an objective who video micro things you can see all the primary colours – for example in my video you can see RGB colours on tv. There is also a shadow and all of it is something seen from the inside, a differente way of understanding things. I wanted to show shadow in the other world, in the another way, a shadow that you cannot see from the outside but you can see from the inside.
disturbance / andrej zikic
Shadow. Is it really a product of light? Maybe a shadow can be made from something else? From anything? Or from nothing maybe? What is a shadow? Maybe it is just a reflection of something that is happening at this very moment -- or maybe it's something that lasts forewer? Or maybe, a shadow is a moment? Who knows? Me? Not for sure!
One thing that is sure is that there are different kinds of shadows which we can feel and observe in different ways. Some shadows can be smelled, like a shadow of parfume in the elevator - other, that are most common, can be seen. There are even shadows that can be touched, like the shadows of our ancestors curved in pieces of prehistorical stone. They are in many cases full of informations, and they all co-exist with us even we aren't always aware of them. Probably it's because we got used to them, so we don't notice them anymore. "Reading" a shadow can sometimes tell us more about something than reading her caster. If we want to improve our methods of getting informations from shadows, we have to find another way of observing them. So maybe we can mix our senses. Maybe we can try to recognize the sound by its smell, or try to notice the motion with our sense of taste. Shall we succed? Well, maybe not, especially if we don't try! But, if we try to observe shadow with different senses from those we would normally use, than maybe, we could get some informations from them, in order to put the whole picture together. The goal of this experimental video is to prove that this scheme, or method, can work...
the flattening / isidora carnojevic
The changing of light and shadow defines the basic impression on an observer – it creates a contrasting, disturbing scene out of something that was a flat, calming surface. It is the shadow which, with its presence, creates a three dimensional picture out of one that is two dimensional, it is its existence that confirms the existence of a third dimension. Paradoxically, its basic feature here is to do the opposite – by its presence it creates a two dimensional out of three dimensional scene, it subtracts instead of adding a dimension, and does that not by absence, but by an even stronger presence of shadow.
Thursday, June 30, 2011
projection / milica djordjevic
Architecture that creates shadow.
And remains architecture.
Shadow that disappears.
Shadow that doesn’t exist.
Shadow that creates architecture.
Shadow as a space.
Space as an experience.
Space as an inspiration.
Space where there is no space.
Space where birth is given.
Turn everything upside down.
Experience a new reality.
Feel the space.
Wednesday, June 29, 2011
transposition / petar cigic
Shade comes from Reading. Reading came first. Reading is the real art form of insult.
(...)
Then Reading became a developed form where it became Shade. Shade is, „I don*t tell you you*re ugly, but I don*t have to tell you because you know you*re ugly“. And that*s Shade.
(...)
Voguing came from Shade because it was a dance that two people did because they didn*t like each other. Instead of fighting, you would dance it out on the dance floor, and whoever did the better moves was throwing the best shade, basically.
(...)
„You can take the pantomime form of the Vogue. What generally sometimes I do, as I make my hand into a form, like a compact or a makeup kit, and I*m, like, beating my face with blush, shadows or whatever, to the music. Then usually, I*ll turn the compact around to face that person, meaning, like, almost, like, my hand is a mirror for them to get a look. Then I*ll start doing their face, because what they have on their face right now needs a dramatic makeup job“.
(...)
So Voguing is like a safe form of throwing Shade.
(iz filma „Paris is Burning", 1990.)
fugacious / zita kis
transient, transitory, passing, fleeting, evanescent, fugitive, momentary, ephemeral
phantasmagory of identity / svetlana kamenica
“Shadow is produced by two elements: a material and a spiritual one. Material is the shaded body. Spiritual is the light. Light and body create shadow”
Leonardo da Vinci. “Light and shade”. Trattato della pittura
Leonardo da Vinci. “Light and shade”. Trattato della pittura
judgement / nina janjanin
age 4- it was funny
age 14- it was scary
age 18- i've not even noticed it
age 20- it suddenly became SO important
reallyrealreality / marina ilic
really
real
reality.
hide in it.
this is not a word
this is shape.
this is projection.
actually,
this is
s _ _ _ _ w fo the c _ _ _
but
you must not pronounce it.
if you do
s _ _ _ _ w
disappears.
a stroll / sanja milanov
Tendency is to create a space that is not legible, space that would be mental extension of what we
see.
imagination / marija trifunovic
By Jungs psychology, the term "shadow" present identity which part of a conscious "I" does not accept and which is ashamed. Mental qualities that man's "I" do not recognize are repressed in the unconscious. This is formed like inferior "dark" part of us which is named like “the shadow”. Creator of acts (artistic, architectural, social,...) is a man with his "I". Architectural work is a product and the image of his personality. As our "I" is always incomplete than ,we, like creators make the same architecture. This architectural models should have some vague, mystical moment that gives each of us right to project our thoughts and our sensibilitie in this project and make our own picture of it. The work has to be unfinished, the work is free, the work is consistent ...
blow up / irena sokic
00:42:36,893 --> 00:42:39,805
What's so important
about my bloody pictures?
00:42:40,973 --> 00:42:43,043
That's my business.
00:42:54,733 --> 00:42:57,611
The light was very beautiful
in the park this morning.
00:42:57,773 --> 00:43:00,003
Those shots should be very good.
00:43:00,813 --> 00:43:02,485
Anyway, I need them.
00:43:06,933 --> 00:43:11,211
My private life's already in a mess.
It would be a disaster if...
00:43:12,813 --> 00:43:14,724
What?
00:43:16,453 --> 00:43:19,763
These shadows here...
aesthetic correction / mirjana antonijevic
A facade or façade is generally one side of the exterior of a building, especially the front, but also sometimes the sides and rear. The word comes from the French language, literally meaning "frontage" or "face". Aesthetic correction is performed to correct functional impairments. It involves techniques intended for the "enhancement" of appearance and is specifically concerned with maintaining normal appearance, restoring it, or enhancing it beyond the average level toward some aesthetic ideal.
What we perceive as "real" is sometimes distorted by our expectations. The hardest thing is to surround the space, to fix its limit where it fades along its edge. To choose it from among the others, to separate it from the light that all shadows secretly, dangerously, breathe.
transition / milena radovic
We are a part of a circle.
It's like a mobius strip, and it goes round and round until it loses a link.
It's like a mobius strip, and it goes round and round until it loses a link.
It appeals to the intellect as the idea of storytelling conjures up the phenomenal world, the realm of the senses.
Souls are hidden within the shadows of night, seeking the ligh they’ve become revealed.
A need for ambiguity, ambivalence, hesitancy, and the inexplicable …
disappearing / jelena petkovic
On Earth, act as forces of darkness and the forces of light. This already self-evident
claim still hides deep consequences, which are not completely comprehend.
In areas of the light there is only light, and in shadows only shadow. If light enters the
shadow, there is no shadow anymore. Only in a completely particular border area is
Light and darkness meet, namely, that of "coast line", which separates the light from the shadows.
The same principle - the world picture - also applies to multi-dimensional cosmos
regarding the world of light and shadow. They are separate (parallel), but they meet in
one area, where the light is separated from the shadows. This area is crucial dimension in
which is Earth. According to many esoteric and religious resources that is the reason,
why in our world of light and shadow effects work side by side and why the most diverse
beings have such a great interest in people planet Earth is a crossing place, where the
the soul will decide in which direction to go.
“A work of art is realized when form and content are indistinguishable. When they are in synthesis. In other words, when they fuse. When form predominates, meaning is blunted… When content predominates, interest lags.” – Paul Rand
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