Second Test animation, Bringing in the outside world_ real space

Still a lot to do I have not yet edited sound or replaced the scenes with the new ones which I am working on, this is a test composition showing elements of the outside world brought in. Update to follow.

Looking at the film as taken from a subjective experience of space, mapping the landscapes contained within a subjective experience of the commute, different emotional spaces along a journey, breaking out of the chaos of the real world into the third space where the utmost desires, dreams, and imaginatory thoughts come into play, it brings in the elements of the outside world the space which we inhabit, what we register, but is influenced by our persona & individual life experience...

I am still thinking about this......

Some research _ I have been looking into formulary for a new urbanism.. where..

 'All cities are geological. You can’t take three steps without encountering ghosts bearing all the prestige of their legends. We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors.

These dated images retain a small catalyzing power, but it is almost impossible to use them in a symbolic urbanism without rejuvenating them by giving them a new meaning. Our imaginations, haunted by the old archetypes, have remained far behind the sophistication of the machines. The various attempts to integrate modern science into new myths remain inadequate. Meanwhile abstraction has invaded all the arts, contemporary architecture in particular. Pure plasticity, inanimate and storyless, soothes the eye. Elsewhere other fragmentary beauties can be found — while the promised land of new syntheses continually recedes into the distance. Everyone wavers between the emotionally still-alive past and the already dead future.

This new vision of time and space, which will be the theoretical basis of future constructions, is still imprecise and will remain so until experimentation with patterns of behavior has taken place in cities specifically established for this purpose, cities assembling — in addition to the facilities necessary for basic comfort and security — buildings charged with evocative power, symbolic edifices representing desires, forces and events, past, present and to come. A rational extension of the old religious systems, of old tales, and above all of psychoanalysis, into architectural expression becomes more and more urgent as all the reasons for becoming impassioned disappear.
Everyone will live in their own personal “cathedral.” There will be rooms more conducive to dreams than any drug, and houses where one cannot help but love. Others will be irresistibly alluring to travelers. . . .

The main activity of the inhabitants will be CONTINUOUS DRIFTING. The changing of landscapes from one hour to the next will result in total disorientation. . . .
Later, as the gestures inevitably grow stale, this drifting [dérive] will partially leave the realm of direct experience for that of representation. . . . '
All the above has been taken from http://www.cddc.vt.edu/sionline/presitu/formulary.html, the situationist international online, Formulary for a new urbanism 

Find out more at http://www.cddc.vt.edu/sionline/presitu/formulary.html

'Debord created The Naked City, which goes some way towards illustrating the Situationist understanding of psychogeography. The work consists of a map of Paris that has been cut up and reassembled, not in accordance with the representation of the physical terrain, but according to ‘unities of ambiance’

The Naked City presents with us a radically subjective reading of the city, and in the process subverts the claims to objectivity made by conventional maps. The ‘gods-eye-view’ with which the ordinary map of Paris presents its user is an abstraction that excels at schematising geography, yet effaces the experience of the city as it is perceived at ground level. Or, to put it another way, it is very good at telling its users where they are going, but is near-useless at telling them what it will be like when they get there. Debord’s map inverts this hierarchy and reasserts the primacy of the city as it is experienced rather than as it is abstracted, its poetic possibility over its utility

how could one express the nature of the experience of dérive in a way which was not merely self-expression, that is, art?'

The above has been taken from Transforming psychogeography:from Paris to London

Find out more at  http://walled-city.net/

 

Colour Space_ differentiation in emotional spaces. the spectrum of life, and depth of field

Testing differences in spaces

Approach & Settling Down_Oranges & Reds

 Newspaper flicks_Greens/Pink

 Phone Focus_ The Blues

 

Stepping off_ Purple

 

Mapping the real world elements represented in the film (Process of constructing the third space)

Chronogram Updated

Chronogram In Progress

Mapping the construction of the 'third space' - still a work in progress notations of depth of space, time, density, movment, focus, sound, smell etc all yet to be added.. will update soon  with a full description of the analysis within the drawing & film

Testing multiple screens

Chronogram - The Modern Prometheus

The Modern Prometheus -  Please scroll across to view whole image

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Our bodily landscape is one of the most least understood. How can we ever understand our bodies, our minds, our consciousness and our reality? 

‘Tabula rasa theory of knowledge and applied it to the way the creature attained to a ‘knowing personhood. The creature plays out the lockean theory to perfection by gaining all of his ideas from sensation or reflection, seeking or avoiding the causes of sensation according to weather they produce pleasure or pain….. 

‘it is with considerable difficulty that I remember the original era of my being; all the events of that period appear confused and indistinct. A strange multiplicity of sensations seized me , and I saw, felt, heard and smelt at the same time; and it was indeed a long time before I learned to distinguish between the operations of my various senses. By degrees I remember a stronger light pressed upon my nerves, so that I was obliged to shut my eyes’ (Shelly)

The Chronogram attempts to express the immersion into multiple spaces at multiple scales, a mentally fabricated  architecture where the body becomes the drawing and the drawing is and forms the body. I have tried to show camera movment and progress as well as create a fluid image that expresses the project and its development.