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Project 3: Proposal 2: The Culture of Paths
For the following, all uses of “paths” is to imply walkways, streets, hallways, etc.
My project is centralized on walkways and streets. The focus is on the characteristics of the paths and their implied locations. There was no special care taken relative to colors, as the photos are to be drained of color appropriately. Most shots, structurally, seek out the elongated shape of the path or the inherent pattern.
My project is on the culture of paths, that is, how paths paint the world in which we live. In other words, imagine a beautiful statue situated in a swamp. Would you go to see that statue, knowing you would need to traverse the swamp first? The swamp, changed the experience of seeing the statue, that is, the experience of reaching the statue was considered along with the experience of the statue itself. If the experience of the location is altered by the locations traversed to reach that location, what does the traversal say? What language is used? When was the statement made, and why is it still being said?
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project 3 proposal3
For my third proposal, I will cover clocks.
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project 3 proposal 2
For my second proposal I will traverse the culture of paths.
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Project3 proposal 1: Clouds
Pictures of clouds.
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Project2 Final
My project 2 submission focused on the relationship between an actor and an invader across a pair. The perspective is from the invader. The invader is an entity of aggression, while the actor is the victim. The setting is 'living space', E.X. home, office, etc. The invader acts upon the actor via physical presence and a colored light source. In the first image, the actor, the invader's cast shadow, and the invader's 'weapon' are in plain view. The 'weapon' is used on the actor, while the actor reacts to the invader's presence. In the second image, the actor has been replaced by an abstract, nonsensical collection of objects and the 'weapon' has been turned off. The cast shadow of the invader remains.
The project's topic is on self censorship and personality change relative to the brain. The general “pink” tint is to symbolize that these photos occur in the brain. The invader, is the owner of the brain and the one removing memories. The memories are represented by the actor. Specifically, the memories are intentionally generic; they are a placeholder for some habit or character trait that the invader would want to remove. The invader, has focused on the memory, and all its variants, into a single point, the actor. The invader, focusing on the actor, then removes him using the 'weapon'. This removal, technically, is actually a disassociation from other memories, the process causes the memory to change. Because memories are just collections of associations of memories, removing a memory is more a dismantlement than a removal. This process, in turn, is fairly mechanical on a conscious level and thus is represented by a square-ish cast shadow with wires to further indicate a robotic nature. In the second photo, the result of this removal is shown. In the place of the actor, memory, is simple abstract shapes, figments the brain created to fill the lost connections caused by deleting the memory.
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