| Topic: | Re:Re:Re:Re:Re:Re:Re:Re:Re:Re:Re:Re:Examples of f2 transforms |
| Posted by: | John Schertzer |
| Date/Time: | 16/01/2004 18:37:08 |
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Okay, let me see if this example goes anywhere. I often practice walking around the city, ie to the subway, with peripheral vision, turning my attention outward, and turning off internal representations. In my visual field, which is like a 180 degree movie screen, I watch bodies moving to and fro, buildings passing by, scaffolding raking past, and eventually the movement seems to fall into concert, and even recognizable patterns. But once there is a sense of visual pattern and rhythm, I either begin to filter out image movement that doesn't follow the pattern, or conversely, I only catch what doesn't fall into pattern. The latter usually happens when I'm not feeling up to my best. The same thing occurs with sounds. I notice similar convergences and disruptions in my writing, though I tend to use these effects as elements of my work, and language seems so much more arbitrary an experience. Both fixity and disruption in my sensory experience is something I'm less comfortable with. The point is that I am forming generalizations, deletions and distortions in sensory experience based on patterns I construct visually and auditorily. I'm not aware of the same sort of thing in kino, though I have other issues there. The errors of language seem to be so much more obvious, and less significant. I know the difference between a word and the thing it's supposed to refer to, and that is part of the game I play when I use it. But what about the image I am seeing, and the relationship it has to its referent? It is largely formed by the way I have used it, have spoken about it and have been spoken to about it, and that has left an impression on how I reach for it even though I might not be thinking at all when I do. best, JS best, JS |