The Forces of Flow by: Mikael Scherdin
“We will then arrive to the combination of the flickering of 25 images per second, with a possible contemplation (spot) in the flickering in itself. Basically it will be a combination of two perspectives. A combination of dynamic videoflow with the insert of a static message/image"
the forces of flow
The (art) video medium in general and the mediaworld in particular are working
within the framework of, 25 images per second, by definition. In the two extremes
it could be used as a still-image over time or in the other extreme presenting
a complete new, separate and unique image 25 times each second. We normaly
are somewhere in between, those two extremes, but the mediaindustry is constantly
downsizing the length of clips, shown for example in TV - based on the idea
of the audience ”ever increasing perception of more information per
time”.
The flow of images is perceived as flickering because of the fact that the eye (and mind) has no focus. The focus is on the flow in a (rock)video or a commercial spot that is constantly presenting new information (and lately in an increasing pace).
The perception can be no other than flickering. The result is a complete distorsion in the head and perhaps that works as a subconcious force for the spectator to mentally only, and only, focus on the artist or the product presented in the spot.
The flow is, just a flow, without past and future. The only point for the eye or mind will be exact NOW. The spectator is therefore forced to be ”inside” - NOW. As stated in the text ”the jungle of time”, if the shown material only consits of a flow, the piece will therefore be non-commentary, ”meaningless” or just a complete surface. It will bore the wiever or the boredom itself will force him/here to the question - why?
We have now cocluded two important forces:
• The flow in itself will force the wiever to a be within a “now”
(concidering time)
• The flickering of images will force the wiever to focus on something
else than just the flow in itself (concidering message).
Those two conclusions are both based on the idea of flow of images.
What if combining the ideas of flows forcing the mind to be “now” and also force him/here to perceive a message?
What if combining the two extremes of a constant flow and a still image/ text/ message?
We will then arrive to the combination of the flickering of 25 images per second, with a possible contemplation (spot) in the flickering in itself. Basically it will be a combination of two perspectives.
A combination of dynamic video flow with the insert of a static message /
image.
Mikael Scherdin