鋼哥
鋼哥

從物理到電機工程再轉到資訊傳播,最後落腳在社會學。衣櫃拿來當書櫃擺的人。我常在媒介生態學、行為經濟學、社會學、心理學、哲學游移;期盼有天無產階級可以推倒資本主義的高牆的兼職家教。

📝📝Realistic Rebellion Ep. 7|"Vision of Images", "Green Melancholy"

The special feature of this object is that "the viewer must see the object in its entirety in order to see its entirety." The completeness of the object cannot be understood through the image, and the image only shows what it sees, not what you want to see.

I created two works in the form of video, the main medium used is "Ambiguous Cylinder" and made with a 3D printer. The special feature of this object is that "the viewer must see the object in its entirety in order to see its entirety." The completeness of the object cannot be understood through the image, and the image only shows what it sees, not what you want to see.

The main reason why I use the “Ambiguous Cylinder” printed by 3D printer as an example to illustrate the idea that “you have to be physically engaged with the object so that you can learn what it exactly looks like.” I wanna argue that viewers cannot recognize the completeness of ambiguous cylinder simply through an image because the image only displays what it sees from its perspective.


Title: "Vision of Images"

The first work "Vision of Images" uses a mirror as an aid, and the appearance of these objects in the mirror is photographed from the perspective of a third party (I). The lens cap and hair wax can all see the complete self from the mirror; however, Ambiguous Cylinder in the You can only see a completely different self on the side. In order to know ourselves, we use the mirror as an aid, that is, the mirror is used as a "mediator for self-knowledge" ; if we want to see ourselves clearly, we must look through the mirror. However, through the mirror, the decision to know ourselves is handed over to gave a mirror. In the process, the third party views everything from the perspective of God, so the image has once again regained the dominance of "knowledge".

However, even through image capture, Ambiguous Cylinder's configuration inside and outside the mirror is still quite different. The green Ambiguous Cylinder sees itself as a square column in the mirror; from the perspective of the mirror, it sees a column; finally, from the perspective of the image, what it sees is "a column that is both square and round" ".

Title: "Green Sorrow"

"Green Melancholy" also uses Ambiguous Cylinder as the main subject. The difference is that in this work, I removed the mirror, that is, to see the world with Ambiguous Cylinder's "vision". Like the relationship between the eye and the field of vision, the eye does not exist in the world the eye sees, but in the world it can see. The perceiving subject and the perceived object do not share the same reality.

In the world of objects, they cannot know themselves, because the world they see is the reality shaped by human beings, and they cannot see their true appearance from it (or the appearance they present is set by human beings). However, even if Looking at the image from the perspective of a third party, looking at its own shadow, the green pillar still cannot recognize itself, because it does not exist in its own world, it only exists in the world deliberately shaped by human beings. As explained in Vision of the Image, Ambiguous Cylinder cannot know himself without intermediaries; however, through intermediaries, he cannot know his true self.

CC BY-NC-ND 2.0

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