19 November, 2013 - 14:05

Discussing the disturbing images, MC points at the problem when an image needs to be explained, which is a consequence of an unresolved asymmetry between the (omniscient) creator and the recipient. 

Armin Linke demonstrates the position we do have relatively to others or objects in the space and the dynamics this can develop when we change constantly positions. Exercise of avoiding collision when each member of the corwd makes a 90° turn prior to bump into a peer and the effect when we increase movements.

Michael and Armin demonstrate the effect of physical nearness and transgression of intimate circle (read briefly MC talking w/ M. Guttmann) in different contexts (single, group) and locations (elevator, dark room) and different light (light of a match in a dark room w/ high ceiling --> archaic feeling).

Armin then talks about effect of proportion when changing focal length and object distance and does a demonstration,  focussing approaching Tobias by reciprocally compensating by gradually from tele to wide angle. Then he demonstrates various shadow shaping and color  shifts as a result of different light temps (red = natural fire, green = LED etc). Examples: natural candle light used by Kubrick in Barry Lyndon by help of super fast Zeiss lens; halogen light to evoke cool and hard light in 2001 space odyssey).


Lessons learned:

- recognition of objects and visual system interaction with our brain to make sense of what we see:

- what is our spatial position relative to others, what in a dynamic field, what in specific environments?

- what is our perspective on what we see? How do we interpretate what we see in terms of different lighting?

- disturbing: where does the disturbing element derive from - expectation/conditioning, counter-element to or disruption with back-, foreground, topic, atmosphere