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.
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