FRAME SPACE

 
 

Picture Frame

The intertwined relationship between the frame and the visual image had built from the very beginning of the visual communication in human history. Marter argued that picture frame started from the border of the paintings and carvings early as 2000 to 1000 BC (Marter, 2011). The picture frame demonstrates the order of the context, and take picture forward presenting as a tangible substance (Mitchell and Roberts, 1996).

The picture frame interact with environment narrative and picture image. From the 14th century to 18th century, the context of the inside of the frame had changed from the inspiration of the given “Text” to a presenting of the objectivity and description of the situated environment. As well as the picture frame form shifted into standardisation, led by renown artists.

 
 
_MG_9834.JPG
IMG_9868.jpg
_MG_9832.JPG

From Picture Frame

The intertwined relationship between the frame and the visual image had built from the very beginning of the visual communication in human history. Marter argued that picture frame started from the border of the paintings and carvings early as 2000 to 1000 BC (Marter, 2011). The picture frame demonstrates the order of the context, and take picture forward presenting as a tangible substance (Mitchell and Roberts, 1996).

The picture frame interact with environment narrative and picture image. From the 14th century to 18th century, the context of the inside of the frame had changed from the inspiration of the given “Text” to a presenting of the objectivity and description of the situated environment. As well as the picture frame form shifted into standardisation, led by renown artists.

To Screen Frame

As the Renaissance painting invited spectators as an optical window to virtual space, through geometric perspective (Friedberg, 2009), mobilised contemporary screens introduces a new perspective in the virtual space.

Today, TV and the laptop ratio is following the cinema screen ratio, and the way of the presenting visual language in sensory terms. It connected in the seamless and timeless fictional and virtual world, to the other space which is demanding continuity to outside of the frame. (Virilio reference)

The power of the audience.

Human vision, compare with perception through mediated physical substances, now, it started influenced from another layers. Screen frame displays with fractal group of frames.

Editing and Montage make fiction. Compare with the documentary, which uses the least amount of the editing and direct instance, and still remains the relationship with the real world, Timebase Montage – individual snaps configure the linear last moment, and the frame limited editing to makes fictional/ virtual space.

Screen frame – computational space is absolute egalitarianism. Nonetheless of complicated or spectacular images placed in same RGB – Red, Green and Blue sub-pixels. The power of the audience induce universal equality to every layer, and that equality provide average equilibrium.

 
 

Frame

The general feature of the frame, including the picture, photo, movie, and monitor frame, cut into two parts “onscreen space” and “offscreen space”, which is presented as a physical line or border of the outside and inside. Also, it is considered a border of a larger space outside it which could expand the narrative to the outside of the space.

Independent and dependent structure of the frames form individual images as a one-shot but also dynamic spatial time space. Manovich claimed the aspect of the spatial constructions itself became a media type, just as other media types. Constellation space can be stored, compressed, interacted with, which is always spaces of navigation (Manovich, 2016, 218).

The motivation of this project is to understand multi-faceted contemporary visual language in expanded virtual world, and bring back humanity rather than mechanistic industrial term.

The screen is the door for another virtual representation. One regulation/frame fix into a system and same time exchanging the data through non- hierarchy hyperlink. This two antagonistic relationship coexisted to create the space.

Creation of the fictional narrative and representation of the real world, immovable space and remote communication creating new type of the language.

 
_MG_9870.jpg
_MG_9889.jpg
_MG_9886.jpg

Projector

Projector perform as the human brain projecting the memory representations. It bring back dispersedly stored information and arrange based on its axes of the frame.

Brain stores the arrangement of the object’s parts with respect to a coordinate system centred on the object itself rather than on the viewer’s eyes, head, or body (Pinker, 2013). However, the perspective on the screen, which is originated Renaissance painting, on the assumption that eyes start from the surface of the screen.

Marr and Nishihara (1978) proposed that the visual system first aligns a coordinate system on an input object based on its axes of symmetry, elongation, or movement, describes the arrangement of the object’s parts within that system (resulting in the same description regardless of the object’s orientation relative to the viewer), and matches the description against memory representations stored in the same format.

Screen

The screen is the door for another virtual representation. One regulation/frame fix into a system and same time exchanging the data through non- hierarchy hyperlink. This two antagonistic relationship coexisted to create the space.

Creation of the fictional narrative and representation of the real world, immovable space and remote communication creating new type of the language. The scree communication and computational language is changing the visual language: From the phase of the communication to spatial composition.

 

Display Pamphlet

Visual references

Neal, B. (2018). Guide to Projectors for Interactive Installations. [online] CreativeApplications.Net. Available at: http:// www.creativeapplications.net/tutorials/guide-to-projectors-for- interactive-installations/

George Legrady. (2011). Slice [online] Available at: https:// vimeo.com/30238480

Zbigniew Rybczyński (1980). Tango [online] Available at: https:// www.youtube.com/watch?v=u0pEpA_Y1a4

Rebecca Baron (2005). How Little We Know of Our Neighbours. [online] Available at: https://vimeo.com/87764135.

Matta-Clark, G. (1975). Gelatin silver print photocollage. [Photograph] MACBA Collection. MACBA Foundation.

Vimeo. (2014). WOMAN IN RED. [online] Available at: https:// vimeo.com/98264798 [Accessed 7 Mar. 2018].

Snow, M. (1975). Cover to cover. New York: New York University Press.

Eatock.com. (2017). Reflections : Daniel Eatock. [online] Available at: http://eatock.com/2014/reflections/.