bergson
in articulating two distinct forms of the recollection image,
distinguishes between habitual and attentive recognition
(paraphrased as:
habitual recognition
(the cow recognizes grass
(i recognize my friend gilles
repetition of same
passing from one object to another, constantly distancing
the perceptual agency of sensory-motor movementents
associative image
attentive recognition
repetition of difference
perpetual return to the same object,
emphasizing certain singularities of a part, a fragment
each return begining anew, yet elsewhere
if these were to be projected as poles about which an inquiry into
contemporary conditions of the urb anim age circulated, where within this
space would the advertising-image reside? (here i'm thinking more of
brian's thoughts on the production of the image-commodity aggregation
<lonsway, Sat, 23 Aug 97 21:05:57 -0500>) what durational limits would it
be required to adhere to? what velocity would it aspire to? what
repercussions might these parameters have on the pace of an image? how we
ourselves are paced through them?
what other image-strategies, outside those pertaining to the
commodity-image, might this spatial alignment provoke?
to a certain extent, this distinction appears to me to foreground the
relative passivity/activity of an embodied subject as a determinant agent
in the formation of both an image and the terms by which an image is
negotiated.
which is to say:
it's 12:13 AM.
do you know where your attention's drawn?
and/
department of public works
-------------------------------------------------------------
a forum on spatial articulations, perspectives, and procedures
texts are the property of individual authors
for information, email majordomo@forum.documenta.de with
the following line in the message body: info blast
archive at http://www.documenta.de/english/blasta.htm
or http://www.documenta.de/deutsch/blasta.htm
documenta X Kassel and http://www.documenta.de 1997
-------------------------------------------------------------