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| Praxinoscope |
We are trained to think as well as conceptualize through the active collision of concretizations and spatializations of the written word, the production of drawings, diagrams, graphs, cartographies, sculptures, models, photos, paintings and so on.
It is still debatable however, the degree of efficiency and relevance of such concepts and notions of thought while facing processes of social ebullition and the contemporary stream of human experience. To be more specific, how can aesthetic practices in general represent motion, flux and change?
Both Dada and Futurist art tackled this as a neuralgic issue. Futurists pursued to represent the over stimulated individual sensorium. Multiple phases of motion were simultaneously portrayed, exposing the interpenetration of objects with the environment, ultimately shaping space to represent speed and motion. Dadaism considered the ephemerality of art and through the renouncement of perpetual spatializations, obtained eternity by entrenching their happenings in subversive activism.
If we consider architecture and more specifically its means of representation, it is possible to argue that it is not easy to possess the perceptual apparatus to match the contemporary kind of hyperspace, partially due to the fact that our perceptual behaviors and therefore, our spatialization habits were shaped in an older type of space. Perhaps, to react to this conundrum, we could aspire to the condition of music and film, as their aesthetic principle derives precisely from its inherit temporality of movement, the poetry of speed, and the splendid inevitability of motion.
Ultimately, our hypothesis here is that the convergence of film and music postulates a potential antidote to the spatial passivity of architecture’s means of representation.
It is still debatable however, the degree of efficiency and relevance of such concepts and notions of thought while facing processes of social ebullition and the contemporary stream of human experience. To be more specific, how can aesthetic practices in general represent motion, flux and change?
Both Dada and Futurist art tackled this as a neuralgic issue. Futurists pursued to represent the over stimulated individual sensorium. Multiple phases of motion were simultaneously portrayed, exposing the interpenetration of objects with the environment, ultimately shaping space to represent speed and motion. Dadaism considered the ephemerality of art and through the renouncement of perpetual spatializations, obtained eternity by entrenching their happenings in subversive activism.
If we consider architecture and more specifically its means of representation, it is possible to argue that it is not easy to possess the perceptual apparatus to match the contemporary kind of hyperspace, partially due to the fact that our perceptual behaviors and therefore, our spatialization habits were shaped in an older type of space. Perhaps, to react to this conundrum, we could aspire to the condition of music and film, as their aesthetic principle derives precisely from its inherit temporality of movement, the poetry of speed, and the splendid inevitability of motion.
Ultimately, our hypothesis here is that the convergence of film and music postulates a potential antidote to the spatial passivity of architecture’s means of representation.
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