Machine Vision
Published March 5, 2021
Like all
images, moving images are images made up of other images. But unlike linear
perspective images, semantically organized through a vanishing point, moving
images acquire meaning through the cut. Breaking down physical spaces into fragmentary
frames, moving images set out to represent time. The relevant space for the cinematic
image isn’t the ideal space of perspective, but the regular space within and between
each frame in a celluloid film. That is, a standardized distance designed so
interpretative machines merge adjacent frames in a strip of film into a single
moving image. Film projectors are devices for the automation of interpretation
tuned to transform space into a particular conception of time (and mind) as a
stream. The scrolling film inside the projector has a preestablished order and
speed of audiovisual stimuli without requiring the intervention of the
spectator. A necessary concession to the machine in order for photography to
access the long sought-after 4th dimension of time; a flow until
then reserved to audition. The critical dismantlement of illusory space gave
way to an image of time as a mechanical flow that, taking note from linear perspective,
did not represent it through visual cues, but trough an out-of-sight infrastructure
of movement.
Feautured sounds:
Avril 14th - Aphex Twin (Posted by Victor Butzelaar)
Other related media: Scenes from a Movie Theatre - DancerOnFilm
Further reading: Bousquet A. (2018). “Chapter 1: Perspective” in The Eye of War: Military Perception from the Telescope to the Drone. Minneapolis: University of Minnesota Press, p. 21-39.
Deleuze, G. (1986). Cinema 1: The Movement-Image. (H. Tomlinson and B. Habberjam, Trans.) Minneapolis: University of Minnesota Press.
Flussser, V. (2005). Towards a Philosophy of Photography. (A. Mathews, Trans.) London: Reaktion Books.
Manovich, L. (1997). Automation of Sight From Photography to Computer Vision. manovich.net.
Other related media: Scenes from a Movie Theatre - DancerOnFilm
Further reading: Bousquet A. (2018). “Chapter 1: Perspective” in The Eye of War: Military Perception from the Telescope to the Drone. Minneapolis: University of Minnesota Press, p. 21-39.
Deleuze, G. (1986). Cinema 1: The Movement-Image. (H. Tomlinson and B. Habberjam, Trans.) Minneapolis: University of Minnesota Press.
Flussser, V. (2005). Towards a Philosophy of Photography. (A. Mathews, Trans.) London: Reaktion Books.
Manovich, L. (1997). Automation of Sight From Photography to Computer Vision. manovich.net.