theWorkshop Week#50 - Sense

W e e k #50 - A r t i c l e _002

<Senses> Senses I n F o r m & F o r m l e ss n e ss

Senses

of

Today

G e n e r i c C u lt u r e & S p e e d

of

C u lt u r e

Senses & Time A wa r e n e ss

to

Environment

S e n s e s & S pa c e i n s e a r c h f o r p l a c e - n e ss

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week_50

Article_002

2016

<SENSES> SENSES

IN FORM AND FORMLESSNESS

EVER since the beginning of the evolution of human-kind, we began to utilise physical & non-physicalthinking, instincts parts of our body to think beyond (of) what we can see, touch, feel, or have experienced.

Then we, humans, have immediately metathesised these immaterial experiences of senses, dreams, beliefs, statements and unacquainted domains into various formslanguage script, figurative mortal, myth, folks, musics, and even as religions to make understandings communicate with/to others of their sensesfeelings, beliefs, understandings and etc..

We believe this metathesis process of our senses can be enunciated in many forms or formless language and figures. By means, we have come across with so many greats and iconic figures who were able to deliver lot more than their ‘scope’ of senses through their ‘dialects ingenious’ narration of their spectrums; such as Picasso, Beethoven, Da Vinci, van Gogh, Kandinsky, etc..

But we believe it is not only from these ingenious figures, but also, our cultures are shaped through decades of sensibility & insensibilitiestrial& errors that it does not neither rely only on induction methodspecifics nor through deductive methodgeneral of how we live and make advancement with our fundamental living conditions.

‘Senses’, in this terms of modecondition of production today, conducts as a medium of ‘Super Culture1’, by which common understandings and acknowledgement of one’s thought may leads to greater purposes and unity in such dynamic transitions.

And we believe acquisition of the general understandings does not only come from supernatural phenomena but from ordinary daily life senses of our today, yesterday and tomorrow in our urban/sub-urban cultures.

1. Super culture’ is collection culture and/or subcultures, that interact with one another, share similar characteristics and collectively have a degree of sense of unity. In other words, super-culture is a culture encompassing several subculture with common elements. (https://en.wikipedia.org/wiki/Super_culture)

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From the Painting of Banquet by Kim Hong-do, beside the composition and storytelling through naturebackground and event in the town, depiction of how ordinariespeople and activity around the event and fundamental elementsfood, housing, clothing allows many people to understand the painting with more sensual information <기로세련계도 - 耆老世聯契圖> (1804)

by Kim Hong-do

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Calligraphic illustrationgesture of letterings combined with information of our common analogy allows better understanding of information. Herewithin, the author presents common signagevisual information under logic of ‘how information is conveyed’ rather than ‘how to convey information’ <Kitasenjyu Marui Shokuyukan> (2004)

by Masaaki Hiromura (Tokyo)

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SENSES OF TODAY

GENERIC CULTURE & SPEED OF CULTURE

DYNAMICS of our cultures today may have started to take its great leap from early renaissance of 14th century and on. From anthropologic evolution to general science/ technological evolution, and other innumerably interlaced topic of advancements and stagnations, its dynamicvariety & speed have met many epics and its counterparts.

If use of ‘tools’ were trigger to agricultural developments, ‘printing press’ to decades of renaissance and ‘machine’ mobility & material to modernisationsearly/neo/post of today, we are ought to ask ourselves, how our senses & space have taken reactions to these dynamic of interventions in various fields.

Its been more than 300 years since Newton have published Newton’s third law of motion , action&reaction Law III: To every action there is always opposed an equal reaction: or the mutual actions of two bodies upon each other are always equal, and directed to contrary parts. and it have become basics to most of our behaviours of daily life, that reactions will follow by course of every action.

And like so, how our cultures have developed in past decades have always had close relationship with not only one field of study but multitude of interlaced field of our developments. By so, it have extended the fringes of how/what/where/when/why we sense what we sense/sensed/can sense as superficial to the ordinaries of daily life.

Citing from <Murnau View With Railway And Castle>1909, Kandinsky and many other arts and literatures during the period, we are able to apprehend how changes in our environment mode of using senses have influenced our culture and cities during industrial revolution 1900s and how it have expanded spectrums of how we can envision fictions superficial to reality.

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https://en.wikipedia.org/wiki/Soswaewon

Soswaewon a typical Korean garden of the middle Joseon Dynasty known for its harmonized environment with nature in traditional Korean style. Various natural elements such as waters, valley, lake, trees are abstracted in the plan. This place is also known for ‘cultivating house’ of scholar intuition as many Confucian scholars discussed academic subjects and wrote their works in this ‘slow & harmonized’ place.

Wooden engraving, <Soswaewon> (1775)

by Kim In-Hoo It was new scene for the people during the period to see cities & context in such ‘fictional’ speed on the train, of the train and it brought new visions & spectrum to publics and there works. <Murnau View With Railway And Castle > (1909)

by Kandinsky

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SENSES & TIME AWARENESS OF ENVIRONMENT

DEVELOPMENT or integrations of our human “senses” along with the human evolution technology and physical developments may have been one of the most distinct tools which have configured the basis of our city and its developments.

We, human-kind, have relied recklessly upon our senses/instincts, history & experiences, beliefs & God or gods for hundred of decades until the scientific discoveries and technological intervention have ‘envisioned’ our sense & sensibility into greater extent.

As mentioned above, how we exchange communicate through senses; not only through communication but various media such as book, music, paintings, pictures, demonstrations, and etc., does not gradually develop itself but ‘with purposes’ with right engagements time.

From the two images on the left, <Draughtsman Drawing a Recumbent Woman> (1525) by Albrecht Durer and Screen of <Rear Window> (1954) by Alfred Hitchcock, we want to articulate two notable convergence of our senses and its relational occurrences.

1. How our awareness/purposiveness to express the space main & context may depend on hierarchy of senses as well as the role of the architectural elements window in time. activity inside the space & context seen out the frame of the window

2. How production of architectural elements window/frames not only converged forms, order, materialisations of a building but also conveyed factitious scenes of urban & suburban cultural context.

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From the image of Durer’s first book <Manual of Measurement>, along with the statement he makes “the importance of the perspect, proportion and geometric fundamentals (as theoretic knowledge), it is also very interesting to be acquainted with the background seen out the window behind the lady in nude hommage and Durer since before this time, window was not an element purposed to see outside. <Draughtsman Drawing a Recumbent Woman> (1525)

by Albrecht Durer ‘Perspective’ view of how the new productionselements/mixtures are implemented in our urban context, it not only converts our daily habitat or environment but also develop facticious behaviors/cultures which become apparent as in form or formless posture that we get to react. <Rear Window> (1954) Directed by Alfred Hitchcock

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SENSES & SPACE IN SEARCH FOR PLACE-NESS

“The History of any part of the Earth, like the life of soldier, consist of long periods of boredom and short period of terror” Derek Agger

palaeontologist

WE do not intend to disguise the fact that various form of our contemporary cultures have advanced our intuitions and quality of our life. And it certainly have expanded the bandwidth of our spectrums and languages to communicate in common analogy of thinkings to other major & minorities. But as we, human-kind are likely to evolve and through experiences and acculumation of purposed and coincident events, we are ought to reconsider our fundamental elements that affects our senses in today’s environmentcontexts.

Well, basically I have intuition. I mean, the DNA of who I am is based on the millions of personalities of all the programmers who wrote me. But what makes me me is my ability to grow through my experiences. So basically, in every moment I’m evolving, just like you.

Quote from Movie <Her>(2014)

Directed by Spike Jonze

Sometimes, like mentioned in our previous article, <Fictional City> Week#49, we believe fictionality of our daily life are becoming ‘blurred’ to what is ‘physical’ in today’s context global/virtual. By means, the fringe of where we get to experience and sense the physical-ness does not necessary rely only on the physical ‘ground’ of where we experience but it is condition of fictional & nonfictional ‘ground’ of ‘how’ we get to sense our medium* of activity and corresponding reaction within.

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(...) It’s like I’m reading a book… and it’s a book I deeply love. But I’m reading it slowly now. So the words are really far apart and the spaces between the words are almost infinite. I can still feel you… and the words of our story.(...) (...)but it’s in this endless space between the words that I’m finding myself now. It’s a place that’s not of the physical world. It’s where everything else is that I didn’t even know existed.(...)

Samantha (OS) <Her> (2014) Directed by Spike Jonze

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(…)a distinction between space espace and place lieu that delimits a field. A place lieu is the order of whatever kind in accord with which elements are distributed in relationships of coexistence.(…)

(…)A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it. (…)

Quote from <The Practice of Everyday Life> (1984) Michel Certeau

We are discreet and progressive to make assumption to measure the hierarchical orders of our senses see, hear, smell, touch, taste in relation to diverse platforms that shape our cultures in today’s urban context.

In this term, ’Senses’ is not an answer to our plans or designs but complimentary to narratives above, it is an ‘medium’ of what is natural and superficials of what user experiences in a place and it has being evolving along us in transitions fast & slow.

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Engraving of the American Indian Town of Secota was published in book <A Brief and True Report of the New Found Land of Virginia>(1588) Thomas Hariot. A city is planned with various fundamental elements of our lives with planned foot path in the center. And along with planned, ritual, habitats, community is formed.

Engraving <Village of Secota> (1588)

by Theodor de Bry

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Likely to be noticed in various works of Alessandro Magnasco are, depicted imaginary scenes, dark and elongated figures of characters. And dynamism that is taking place in landscapes of painting which we can sense is maybe through behaviors of people in the painting and vibrarting strokes of Alessandro that is expressed within the ‘commonality’ of dining table. <Observant Friars in the Refectory> (1736-1737)

by Alessandro Magnasco

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