> from the repetitive to habit to habitual recognition...
It might begin with a simple movement, a simple vector. This might
become recurrent, repetitive. Then there is a certain point where that
repetitive movement is internalized, habitualized. That's the goal.
It could operate in the realm of recognition, but its goal is to operate
below cognition, so you're not aware of it at all. You just find
yourself doing it, like all of a sudden finding yourself humming an
inane product jingle, or buying Fritos.
An internalization, habituation (in/habituation, form of dwelling), that
is accompanied by the appropriate refresh rate. (that's a great term).
So there is rate and movement, which we could signify by some kind of
vector. The image houses vectors 'inside' its depths. The vectors
initiate and encode. They prompt and leave traces of movements and
rates. Movement + rate = pace. It has to be embodied, internalized,
walked through.
Re: the attentive and habitual recognition,
>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? 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.
Would the poles be rather Attention and Distraction? Because in the
realm of distraction the habitualizing could work more effectively (as
it would bypass conscious awareness).
It would be interesting to posit such a realm, a realm of
attention-range, almost like that apparatus of a camera lens (what's it
called? - the shutter aperture?). But it would not be 'visual' - and it
would give us another realm to study that is, in a sense, closer to
incorporation. (the visual is elsewhere, extended, prostheticized)
a preliminary sketch, with three elements:
The image, filled with vectors, both potential (impulses) and enacted
(as traces).
The realm of attention-range
The subject
To account for would be:
Embodiment as an effect, a contouring (the lines between the internal
and the external), but also a determinant
Objects
The technological apparatus ( a 'vehicle')
The vehicle: an im/mobilizing apparatus whose condition is both of
movement and fixity?
Helps 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.
?
Employs a technology, and a screen of representation, in relation to
which a subject is positioned, oriented. It would help to define the
contours of an inhabiting body 'within' its confines, and an exterior
world beyond it. Device of acclimation, orientation, travel (often
conversion).
Vehicles impede on each other, witness the multiple sites of impact of
princess die
writing this i feel in the midst of a struggle between attention range;
fragmented thoughts not quite fitting. sorry about that.
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