Perspective and the Past: Modeling Historical Representation from Camera Obscura to Virtual Reality

This article examines the concept of “perspective” as an embodied metaphor with ontological and epistemological implications for the modeling of historical understanding of contested pasts. The metaphors employed in modeling past reality shape how we make sense of the controversial past. In particular, I explore how perspectival metaphorical models conjure the notions of presence/proximity/engagement and absence/distance/detachment. To open this up, the paper juxtaposes two distinct models of seeing and knowing as sources of embodied metaphor: 1) static and distancing optical metaphors of cognition, and 2) a “post-cognitive” (i.e., enactive, embodied and dynamic) process of interaction. I argue that the shift towards the affective, experiential and immersive forms of engagement in historical representation is indicative of the growing importance of dynamic, embodied and interactive features in mediated models of the past. The paper concludes by discussing the implications of virtual reality as an emergent medium that offers a new way of modeling the past. Despite its novelty, however, virtual reality raises age-old questions about the dynamics of engagement and detachment in historical understanding.

Introduction: Late Hammer

This introduction to a dossier of short pieces on Barbara Hammer locates the work of the late filmmaker in the context of feminist film culture and the journal Camera Obscura. It briefly reviews several phases of the artist's career before focusing on the output of the last decade of the filmmaker's life. Diagnosed with terminal cancer, Hammer made work dealing with her body; gave footage she shot over the years to several filmmakers to finish as they wished; set up a grant for lesbian experimental filmmakers; and collaborated with curators, archivists, and her partner, Florrie Burke, to shape her own legacy. Pieces by the collaborators who contributed to this dossier are introduced.

The Stranger

<p>How can humanity possibly become sustainable in the future if we cannot think or plan sustainably in the present? This project aims to challenge people’s current thinking, raising awareness that the issue of sustainability will not be resolved without a significant cultural shift in our relationship with our world’s environmental systems. The thesis addresses this through an architectural narrative conceived to enhance the viewer’s awareness of how our interdependent relationship with machines and industry has led to this dire situation. Prior to the Industrial Revolution the environment could regenerate and recover faster than humanity could destroy it. With the advent of the Industrial Revolution this changed and environmental degradation has rapidly increased out of control. The result is that today we need to evolve and change our thinking rather than be limited by our tools if we are to be sustainable. It is this at present unsustainable relationship between mechanical industry and human behaviour that this thesis exposes through speculative architecture. The investigation explores how architectural allegory can be an effective way of conveying a message with multiple layers of interpretation and meaning - a message capable of addressing important environmental, political, economic and social issues. The title of the thesis is taken from Albert Camus’s novel l’Étranger (The Stranger) as well as Georg Simmel’s essay “The Stranger”, which was written as an excursus to a chapter dealing with sociology of space in his book Soziologie. In this thesis, as an architectural allegory, the Stranger’s architectural habitat is composed of a myriad of integrated machines that symbolise our time and place identity: a Theodolite that surveys the land; a Clock that keeps the time; a Loom that reflects the folklore of fate; a Compass that represents direction, and a Camera Obscura through which the Stranger views his/her surroundings. The Stranger lives in the Camera Obscura, a compartment with a periscopic lens focused across the Cook Strait to South Island. When (s)he activates the Loom, it pulls the living compartment along tracks toward the core, where (s)he descends into the central volume of the Theodolite. A Compass on the top of the structure points towards landmarks across the Cook Strait while the mechanical workings are inspired by the internals of a mechanical Clock. The overall programme for the thesis investigation is an Aquaponics Lab, a self-contained environment that grows marine life in an aquaculture system, using their waste to fertilise plant life in a hydroponic system, and using their nutrients in turn to feed the marine life. The flora and fauna continually sustain one another in an eternal cycle - the machines replicating a perfect natural system. The thesis takes the form of a day in the life of the Stranger. The reader witnesses the sequential daily rituals of the Stranger as (s)he moves through the machines from sunrise to sunset.</p>

The Stranger

<p>How can humanity possibly become sustainable in the future if we cannot think or plan sustainably in the present? This project aims to challenge people’s current thinking, raising awareness that the issue of sustainability will not be resolved without a significant cultural shift in our relationship with our world’s environmental systems. The thesis addresses this through an architectural narrative conceived to enhance the viewer’s awareness of how our interdependent relationship with machines and industry has led to this dire situation. Prior to the Industrial Revolution the environment could regenerate and recover faster than humanity could destroy it. With the advent of the Industrial Revolution this changed and environmental degradation has rapidly increased out of control. The result is that today we need to evolve and change our thinking rather than be limited by our tools if we are to be sustainable. It is this at present unsustainable relationship between mechanical industry and human behaviour that this thesis exposes through speculative architecture. The investigation explores how architectural allegory can be an effective way of conveying a message with multiple layers of interpretation and meaning - a message capable of addressing important environmental, political, economic and social issues. The title of the thesis is taken from Albert Camus’s novel l’Étranger (The Stranger) as well as Georg Simmel’s essay “The Stranger”, which was written as an excursus to a chapter dealing with sociology of space in his book Soziologie. In this thesis, as an architectural allegory, the Stranger’s architectural habitat is composed of a myriad of integrated machines that symbolise our time and place identity: a Theodolite that surveys the land; a Clock that keeps the time; a Loom that reflects the folklore of fate; a Compass that represents direction, and a Camera Obscura through which the Stranger views his/her surroundings. The Stranger lives in the Camera Obscura, a compartment with a periscopic lens focused across the Cook Strait to South Island. When (s)he activates the Loom, it pulls the living compartment along tracks toward the core, where (s)he descends into the central volume of the Theodolite. A Compass on the top of the structure points towards landmarks across the Cook Strait while the mechanical workings are inspired by the internals of a mechanical Clock. The overall programme for the thesis investigation is an Aquaponics Lab, a self-contained environment that grows marine life in an aquaculture system, using their waste to fertilise plant life in a hydroponic system, and using their nutrients in turn to feed the marine life. The flora and fauna continually sustain one another in an eternal cycle - the machines replicating a perfect natural system. The thesis takes the form of a day in the life of the Stranger. The reader witnesses the sequential daily rituals of the Stranger as (s)he moves through the machines from sunrise to sunset.</p>

The House of Marie Shannon

<p>This thesis creatively explores the architectural implications present in the photographs by New Zealand photographer Marie Shannon. The result of this exploration is a house for Shannon. The focus is seven of Shannon's interior panoramas from 1985-1987 in which architectural space is presented as a domestic stage. In these photograph's furniture and objects are the props and Shannon is an actress. This performance, with Shannon both behind and in front of her camera, creates a double insight into her world; architecture as a stage to domestic life, and a photographers view of domestic architecture. Shannon's view on the world enables a greater understanding to our ordinary, domestic lives. Photography is a revealing process that teaches us to see more richly in terms of detail, shading, texture, light and shadow. Through an engagement with photographs and understanding architectural space through a photographer's eye, the hidden, secret or unnoticed aspects to Shannon's reality will be revealed. This insight into another's reality may in turn enable a deeper understanding of our own. The methodology was a revealing process that involved experimenting with Shannon's panoramic photographs. Models and drawing, through photographic techniques, lead to insights both formally in three dimensions and at surface level in two dimensions. These techniques and insights were applied to the site through the framework of a camera obscura. Shannon's new home is created by looking at her photographs with an architect's 'eye'. Externally the home acts as a closed vessel, a camera obscura. But internally rich and intriguing forms, surfaces, textures and shadings are created. Just as the camera obscura projects an exterior scene onto the interior, so does the home. Shannon will inhabit this projection of the shadows which oppose 30 O'Neill Street, Ponsonby, Auckland; her past home and site of her photographs. Photographers, and in particular Shannon, look at the architectural world with fresh eyes, free from an architectural tradition. Photography and the camera enable an improved power of sight. More is revealed to the camera. Beauty is seen in the ordinary, with detail, tone, texture, light and dark fully revealed. As a suspended moment, a deeper understanding and opportunity is created to observe and appreciate this beauty. Through designing with a photographer's eye greater insight is gained into Shannon's 'reality'. This 'revealing' process acts as a means of teaching us how to see pictorial beauty that is inherent in our ordinary lives. This is the beauty that is often hidden in secret, due to our unseeing eyes. This project converts the photographs beauty back into three dimensional architecture.</p>

The House of Marie Shannon

<p>This thesis creatively explores the architectural implications present in the photographs by New Zealand photographer Marie Shannon. The result of this exploration is a house for Shannon. The focus is seven of Shannon's interior panoramas from 1985-1987 in which architectural space is presented as a domestic stage. In these photograph's furniture and objects are the props and Shannon is an actress. This performance, with Shannon both behind and in front of her camera, creates a double insight into her world; architecture as a stage to domestic life, and a photographers view of domestic architecture. Shannon's view on the world enables a greater understanding to our ordinary, domestic lives. Photography is a revealing process that teaches us to see more richly in terms of detail, shading, texture, light and shadow. Through an engagement with photographs and understanding architectural space through a photographer's eye, the hidden, secret or unnoticed aspects to Shannon's reality will be revealed. This insight into another's reality may in turn enable a deeper understanding of our own. The methodology was a revealing process that involved experimenting with Shannon's panoramic photographs. Models and drawing, through photographic techniques, lead to insights both formally in three dimensions and at surface level in two dimensions. These techniques and insights were applied to the site through the framework of a camera obscura. Shannon's new home is created by looking at her photographs with an architect's 'eye'. Externally the home acts as a closed vessel, a camera obscura. But internally rich and intriguing forms, surfaces, textures and shadings are created. Just as the camera obscura projects an exterior scene onto the interior, so does the home. Shannon will inhabit this projection of the shadows which oppose 30 O'Neill Street, Ponsonby, Auckland; her past home and site of her photographs. Photographers, and in particular Shannon, look at the architectural world with fresh eyes, free from an architectural tradition. Photography and the camera enable an improved power of sight. More is revealed to the camera. Beauty is seen in the ordinary, with detail, tone, texture, light and dark fully revealed. As a suspended moment, a deeper understanding and opportunity is created to observe and appreciate this beauty. Through designing with a photographer's eye greater insight is gained into Shannon's 'reality'. This 'revealing' process acts as a means of teaching us how to see pictorial beauty that is inherent in our ordinary lives. This is the beauty that is often hidden in secret, due to our unseeing eyes. This project converts the photographs beauty back into three dimensional architecture.</p>

"Nomen Nominandum". La photographie comme modèle inconnu dans les carnets de voyage en Italie au début du xixe siècle

Pour l’histoire de l’art, les expérimentations chimiques qui ont conduit à l’invention de la photographie au début du xixe siècle sont secondaires. Ce n’est pas la fixation réussie de l’image lumineuse dans la camera obscura qui a donné naissance à ce nouveau médium, mais une nouvelle esthétique du regard qui émerge dans la peinture au début du siècle, notamment dans les croquis à l’huile de paysages. S’appuyant sur l’exemple des carnets de voyage en Italie de la même période, l’article examine dans quelle mesure cette nouvelle conception de la perspective peut également être observée dans les textes littéraires, et remet en question la datation de l’invention de la photographie à l’année 1839. Keywords : Perspective centrale, Invention de la photographie, Carnets de voyage en Italie, Esthétique du regard, Point de vue.

The Projector's Noises: A Media Archaeology Of Cinema Through The Projector

This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises— which have been framed as insignificant and/or unwanted—allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinématographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra’s interest in the projector-as-instrument and the relationship between the Cinématographe and Luigi Russolo’s