Tuesday, January 20, 2009

Living Section 1.2

In Living Section, by former student Christopher Lanzisera, we are able to view and understand the adjacencies of spaces, their configurations and relative proportions, etceteras yet more importantly because of the ability of the camera to record activities in time, we are able to understand the fluctuation of programs that are happening across this section-cut of the city over a period of time (fig. 1). This study achieves what architect Bernard Tschumi refers to as the “tripartite mode of notation… (events, movements, spaces)…for all inevitably intervene in the reading of the city”. (5) However in this case it is drawing which is influencing our understanding and use of the moving image. And while the inspiration for this study comes directly from a common drawing convention, a similar condition can be found visually in the film; The Cook, The Thief, His Wife, and Her Lover directed by Peter Greenaway where the camera pans slowly across adjacent spaces and between walls revealing the activities happening within and along the indiscriminate line that traverses the building from a parking lot, through a kitchen to dinning room. (6) Similarly this occurs with audio in the film Delicatessen by Jean-Pierre Jeunet and Marc Caro where we hear the various spaces of a building playing against each other as sounds that originate in different spaces permeate each other or disappear into wall cavities. (7)

5 Tschumi, Bernard. The Manhattan Transcripts New York: St Martin’s Press, 1994 p.9
6 See The Cook, The Thief, His Wife, and Her Lover directed by Peter Greenaway 1989
7 See Delicatessen by Jeunet and Caro 1992

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