Once Brian and I decided we were working together and initiated conversations about both my area of interest, landscape as matter, energy, and information or void, and Brian's interest in film's "long take" and montage, the conversations became incrementally more interested in our built environments spaces. We generalized and at times categorized space into categories not unlike Kevin Lynch's tactics in Image of the City. Consistently we turned back to the more important focus on the long take as a mapping technique and landscape as an atomic carpet riddled with thresholds or connections and simply differentiated through urbanization and patterns of living development.
Ultimately, our more relevant analysis was "post filming" or "post real time mapping". It was not until after we planned the film, walked what would be the film, walked what would be the film again, and then shot the film, watched the film, and watched the film, that we noticed a clear pattern embedded within the area of the city we were filming.
Similar to physics the space under anaylsis has properties or elements that can be easily understood as matter, energy, and information or spaces of utility, activity, and constraint pared with temporality.
In the presented work the rigour is embedded within the production and placement of audio. The audio is contrived not unlike the facades that bifurcate urbanity. Essentially, the audio narrates the landscape slowly revealing, impregnating, and networking the events, energies, and atoms that are composed 3 dimensional, but as shown here 2 dimensionally.
Thursday, April 23, 2009
Monday, April 13, 2009
E=Mc2 film style
The long take is about the experience of an individual - the montage is about collective understanding.
Brian,
I really like this synopsis you have made about two very common filming techniques, (long take and montage).
I think these two types of technique and the respective ideas about individualism and collectivness is similarly concerned with the physical universal principles I mentioned in the previous post.
For example, if the void is accessible information is this to say that the void is a collective interaction similar to the montage?
On the other hand, is the present and dated paradigm E-mc2, representative of the autonomous body and landscapes constructed of fragments of information and material that would be unrecognizable without the "appropriate puzzling"
What if our instillation was a puzzle/film? What the F is a puzzle film? We should figure it out?
I read this really interesting thing by Stephen Hawking where he discuss time, chaos, complexity, and high order. The conclusion is that the world becomes more complex with time. He compared the world to a puzzle stating something to the effect that if the world were a puzzle and we assembled it, that would denote day one. Further if we were to the put that puzzle assembled into a box and give it a shake that would be a future date by which the world will have become less high order and more complex, and with each shake of the the box th universe becomes more complex and more synonymous to our universe.
Brian,
I really like this synopsis you have made about two very common filming techniques, (long take and montage).
I think these two types of technique and the respective ideas about individualism and collectivness is similarly concerned with the physical universal principles I mentioned in the previous post.
For example, if the void is accessible information is this to say that the void is a collective interaction similar to the montage?
On the other hand, is the present and dated paradigm E-mc2, representative of the autonomous body and landscapes constructed of fragments of information and material that would be unrecognizable without the "appropriate puzzling"
What if our instillation was a puzzle/film? What the F is a puzzle film? We should figure it out?
I read this really interesting thing by Stephen Hawking where he discuss time, chaos, complexity, and high order. The conclusion is that the world becomes more complex with time. He compared the world to a puzzle stating something to the effect that if the world were a puzzle and we assembled it, that would denote day one. Further if we were to the put that puzzle assembled into a box and give it a shake that would be a future date by which the world will have become less high order and more complex, and with each shake of the the box th universe becomes more complex and more synonymous to our universe.
Audio-Sound
Sound like all other phenomenal things, light, water, even air, is physically manifested through matter, atoms, or particles. Simply, it seems that sound like light is merely the combination of energy and matter.
Thinking about our project, which we should name, how is sound or audio a montage? a landscape? matter? energy? or void? Considering the void. Atomically speaking we are unclear about the void that exists between the neutrons, protons, electrons, and quarks. Proportionally the void is the same as the void that exists between the stars, planets, and galaxies. Simply, the space the exists between the entities that we physically understand or see, via technology, has a distinguishable amount of potential.
In light of this I think it very important that sound becomes an informative element, eluding to the unknown and very complex nothingness. Possibly, we make the lack of sound more apparent the sound itself through the way we orchestrate the sounds we do make. Perhaps the sound or audio is combination or recorded/altered dialog that brings awareness or information to the final project. Perhaps, the dialog and sound is either paralleled through video or juxtaposed with video. This is to say that the audio could contrast the video or highlight it making reference to the void.
Lets simplify the world. We have E=mc 2, which is to say that energy has an equivalent and that equivalent has a mass meaning it must be made of matter or particles or atoms. Now and probably in the past with less science involved researchs, theoriticians, doctors, philosophers, are discussing a void and asking what is in the void. Potentially the void is consciousness, knowledge, or information. Therefore it would be via this void that we know ourselves despite the fact we physically completely replace ourselves down to the very last atom every 4 years.
Within our project I think it ultimately important to play on these three universal attributes, matter, energy, and information (void). Even more crucial I think we should analyze and utilize the information void within sound, film, and built object.
Matter
Energy
Information
Film
Audio
Object/Field
Thinking about our project, which we should name, how is sound or audio a montage? a landscape? matter? energy? or void? Considering the void. Atomically speaking we are unclear about the void that exists between the neutrons, protons, electrons, and quarks. Proportionally the void is the same as the void that exists between the stars, planets, and galaxies. Simply, the space the exists between the entities that we physically understand or see, via technology, has a distinguishable amount of potential.
In light of this I think it very important that sound becomes an informative element, eluding to the unknown and very complex nothingness. Possibly, we make the lack of sound more apparent the sound itself through the way we orchestrate the sounds we do make. Perhaps the sound or audio is combination or recorded/altered dialog that brings awareness or information to the final project. Perhaps, the dialog and sound is either paralleled through video or juxtaposed with video. This is to say that the audio could contrast the video or highlight it making reference to the void.
Lets simplify the world. We have E=mc 2, which is to say that energy has an equivalent and that equivalent has a mass meaning it must be made of matter or particles or atoms. Now and probably in the past with less science involved researchs, theoriticians, doctors, philosophers, are discussing a void and asking what is in the void. Potentially the void is consciousness, knowledge, or information. Therefore it would be via this void that we know ourselves despite the fact we physically completely replace ourselves down to the very last atom every 4 years.
Within our project I think it ultimately important to play on these three universal attributes, matter, energy, and information (void). Even more crucial I think we should analyze and utilize the information void within sound, film, and built object.
Matter
Energy
Information
Film
Audio
Object/Field
Tuesday, April 7, 2009
I found a really good book on this subject that I checked out from the Library. It is called "Living Systems: Innovative Materials and Technologies for Landscape Architecture." It has some incredible projects and technology stuff, I can drop it off tomorrow if you want to look at it.
On another note, I know I never posted much but I am going to try and put some stuff up over the next couple days.
Here is something I am thinking primarily about:
When breaking down the history and evolution of camera movement and editing in film, the long take and the montage take on more clear purposes that are easier to see when you look at the emergence of editing. In my argument right now, I am aligning the montage with understanding and the long take with experiencing. The montage is a collective. It is a synthesis of collected images and film that are edited together to provide an "objective" understanding of an event, emotion, concept etc. The montage is supposed to enable comprehension of something whereas the long take is primarily concerned with experience - it is a reproduction of the past, that we understand and experience as present.
In applying this to our movement through space and in thinking about landscape urbanism, you can break movement through space, or maybe even the development of space itself, down in to the two categories of understanding and experiencing.
Also, in terms of mapping, the montage and long take fit well into work over the past semester. The montage is the conventional map - it is concerned with enabling the viewer to understand as much as possible - which seems objective. However, the objective appearance was still shaped by a cartographer or graphic designer just like the montage is shaped by the editor. Whereas, the "newer" mapping projects we have been going over (the san fransico cab website, the barcelona bike website, even the NY A/V project) are concerned with the individual "subjective" experience of moving thought space, as a mapping strategy. The long take is about the experience of an individual - the montage is about collective understanding.
On another note, I know I never posted much but I am going to try and put some stuff up over the next couple days.
Here is something I am thinking primarily about:
When breaking down the history and evolution of camera movement and editing in film, the long take and the montage take on more clear purposes that are easier to see when you look at the emergence of editing. In my argument right now, I am aligning the montage with understanding and the long take with experiencing. The montage is a collective. It is a synthesis of collected images and film that are edited together to provide an "objective" understanding of an event, emotion, concept etc. The montage is supposed to enable comprehension of something whereas the long take is primarily concerned with experience - it is a reproduction of the past, that we understand and experience as present.
In applying this to our movement through space and in thinking about landscape urbanism, you can break movement through space, or maybe even the development of space itself, down in to the two categories of understanding and experiencing.
Also, in terms of mapping, the montage and long take fit well into work over the past semester. The montage is the conventional map - it is concerned with enabling the viewer to understand as much as possible - which seems objective. However, the objective appearance was still shaped by a cartographer or graphic designer just like the montage is shaped by the editor. Whereas, the "newer" mapping projects we have been going over (the san fransico cab website, the barcelona bike website, even the NY A/V project) are concerned with the individual "subjective" experience of moving thought space, as a mapping strategy. The long take is about the experience of an individual - the montage is about collective understanding.
Tuesday, March 24, 2009
Landscape Urbanism
source: Praxis (landscape), page 13, Charles Waldheim
Describing landscape urbanism Waldheim writes,
"Rather, contemporary landscape urbanism recommends the use of infrastructural systems and the public landscapes they engender as the very ordering mechanisms of the urban field itself, capable of shaping and shifting the organization of urban settlement rather than offering predictable images of pastoral perfection."
Discussing nineteenth-century "landscape urbanism" Waldeim cites Olmsted's Central Park commisioned for New York city in 1857 as well as his Back Bay Fens in Boston which began construction in 1882.
Stan Allen, Praxis (landscape), page 12
"Increasingly, landscape is emerging as a model for urbanism. Landscape has traditionally been defined as the art of organizing horizontal surfaces....By paying close attention to these surface conditions-not only configuration, but also materiality and performance -designers can activate space and produce urban effects without the weighty apparatus of traditional space making."
Rem Koolhass, Discussing OMA's La Villette Submission, Praxis (landscape), page 14
"....it is safe to predict that during the life of the park, the program will undergo constant change and adjustment . The more the park works, the more it will be in a perpetual state of revision.... The underlying principle of programmatic indeterminacy as a basis of the formal concept allows any shift, modification, replacement, or substitutions to occur without damaging the initial hypothesis."
source: U.S. News
"Obama Assembling $850 Billion Infrastructure Spending Plan to Jolt Economy"
First, it is obvious that our infrastructures including the physical manifestations of the necessary networks and machines for our living are embedded within the landscape under question. Thinking optimistically we can hope that future investment in infrastructure will truly result in an investment in ecological landscapes. How does infrastructure relate, interact, adapt, and perform within the landscape or become part of the landscape.
Discussing the future of the landscape profession and landscape designs position within our current environments Richard Weller writes,
source: Praxis (landscape), page 15, Richard Weller
"Postmodern landscape architecture has done a boom trade in cleaning up after modern infrastructure as societies-in the first world at least-shift form primary industry to post-industrial, information societies. In common landscape practice, work is more often than not conducted in the shadow of the infrastructural object, which is given priority over the field into which it is to be inserted. However, as any landscape architect knows, the landscape itself is a medium through which all ecological transactions must pass, it is the infrastructure of the future."
reference projects:
Peter Latz's-Duisburg Nord Steelworks Park
Richard Haag's- Gas Works Park in Seattle
Describing landscape urbanism Waldheim writes,
"Rather, contemporary landscape urbanism recommends the use of infrastructural systems and the public landscapes they engender as the very ordering mechanisms of the urban field itself, capable of shaping and shifting the organization of urban settlement rather than offering predictable images of pastoral perfection."
Discussing nineteenth-century "landscape urbanism" Waldeim cites Olmsted's Central Park commisioned for New York city in 1857 as well as his Back Bay Fens in Boston which began construction in 1882.
Stan Allen, Praxis (landscape), page 12
"Increasingly, landscape is emerging as a model for urbanism. Landscape has traditionally been defined as the art of organizing horizontal surfaces....By paying close attention to these surface conditions-not only configuration, but also materiality and performance -designers can activate space and produce urban effects without the weighty apparatus of traditional space making."
Rem Koolhass, Discussing OMA's La Villette Submission, Praxis (landscape), page 14
"....it is safe to predict that during the life of the park, the program will undergo constant change and adjustment . The more the park works, the more it will be in a perpetual state of revision.... The underlying principle of programmatic indeterminacy as a basis of the formal concept allows any shift, modification, replacement, or substitutions to occur without damaging the initial hypothesis."
source: U.S. News
"Obama Assembling $850 Billion Infrastructure Spending Plan to Jolt Economy"
First, it is obvious that our infrastructures including the physical manifestations of the necessary networks and machines for our living are embedded within the landscape under question. Thinking optimistically we can hope that future investment in infrastructure will truly result in an investment in ecological landscapes. How does infrastructure relate, interact, adapt, and perform within the landscape or become part of the landscape.
Discussing the future of the landscape profession and landscape designs position within our current environments Richard Weller writes,
source: Praxis (landscape), page 15, Richard Weller
"Postmodern landscape architecture has done a boom trade in cleaning up after modern infrastructure as societies-in the first world at least-shift form primary industry to post-industrial, information societies. In common landscape practice, work is more often than not conducted in the shadow of the infrastructural object, which is given priority over the field into which it is to be inserted. However, as any landscape architect knows, the landscape itself is a medium through which all ecological transactions must pass, it is the infrastructure of the future."
reference projects:
Peter Latz's-Duisburg Nord Steelworks Park
Richard Haag's- Gas Works Park in Seattle
Thoughts..........
Landscape
Thinking about the landscape generally it is apparent that trees or the tree is an important character in the overall topography and survival of the ecological landscape. Simply, trees convert carbon dioxide and water into oxygen utilizing the sun's energy in a process we call photosynthesis. Key to the geometric origin of the tree is the tree's need for sunlight. Tree's have evolved into erect-expansive-complexity from a basic need to harness as much sunlight as possible for the conversion of carbon dioxide and water. Looking at the landscape and generalizing we observe that the tree is a unique protrusion from the landscape-vastly altering topography and in some cases of geography signifying a healthy landscape.
Thinking about the landscape generally it is apparent that trees or the tree is an important character in the overall topography and survival of the ecological landscape. Simply, trees convert carbon dioxide and water into oxygen utilizing the sun's energy in a process we call photosynthesis. Key to the geometric origin of the tree is the tree's need for sunlight. Tree's have evolved into erect-expansive-complexity from a basic need to harness as much sunlight as possible for the conversion of carbon dioxide and water. Looking at the landscape and generalizing we observe that the tree is a unique protrusion from the landscape-vastly altering topography and in some cases of geography signifying a healthy landscape.
immersive [ecology] Research Matrix
Immersive - sense of an artificial reality
Ecology - relations between organisms and their environment
Landscape
James Corner
Keller Easterling
Charles Waldheim (Landscape Urbanism)
Architecture
Rem Koolhass (Atlanta, Downsview, La Villet)
Diller Scofidio (Blur)
Art
Philip Beesly (Sculpture)
Robert Smithson
Richard Long
Andy Goldsworthy
Film
Ecology - relations between organisms and their environment
Landscape
James Corner
Keller Easterling
Charles Waldheim (Landscape Urbanism)
Architecture
Rem Koolhass (Atlanta, Downsview, La Villet)
Diller Scofidio (Blur)
Art
Philip Beesly (Sculpture)
Robert Smithson
Richard Long
Andy Goldsworthy
Film
Philip Beesly
Erratics Net is installation developed by Philip Beesly and is further described by Beesly's Website as:
Like plankton phosphorescing in the ocean, Erratics Net offers dissociated space, an absorption into ether.
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