There is a prevailing notion that what an individual observes with their eyes is indeed an objective representation of the subject being viewed. This sentiment is furthered with aphorisms like “seeing is believing,” a notion that can be rendered untrue by manipulations of perception. In the introduction to his experiment,Image Creation through Manipulation of Transform Space Representations, David Brownrigg states, ”Classically time and space are considered to vary continuously,but we do not perceive arbitrarily small changes in them.”Therefore, the manipulations or change of perception over time affects an individual’s subjective sensation of orientation regardless of any objective changes in orientation. To begin exploring this concept,
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Gehr states, “Somebody gave me this flip book, just sheets of paper and as you use your thumb to move those sheets, still images take on a life, they start to move, but you can move them forward and backwards, you can flip it around” and then compares it to the sense of movement in Serene Velocity, saying “It deals with space, and what happens on the plane, with the fact that you are working with this deep space and the same time with frames, no movement. It’s all in the way we see. It’s real. The experience of space is real.” In a flip book, the viewer participates in the sensation of a moving image, again allowing for the “abstraction and experimentation” of sensation to take place despite the reality of what is actually being perceived, which is in reality is simply the movement of sheets of paper with images on them. Similarly, viewers of Serene Velocity concede their reality and understanding of what the hallway is, and participates in the piston-like sensation that the film creates. Gehr states that film and video are “all part of the experience of consciousness,” and in Serene Velocity Gehr contrasts the sensation of movement with the objectivity of the stationary camera, thus providing contrasting experiences of consciousness, one that initially comes very naturally, and another that must be rationalized to understand as the …show more content…
These “orientation devices” such as the position of the lights that line the ceiling, the fountain, and the door at the end of the hallway, give the viewer of the film a point from which to reference, and orient themself. However, in contrast to the example Ahmed uses in the text “Queer Phenomenology”, where an individual is introduced blindfolded in an unfamiliar room, and must orient themself through “orientation devices” and the directionality of left and right, the viewer of Serene Velocity is allowed to begin oriented in space, with a general understanding of the hallway, and then become disoriented as the focal lengths begin to shift by greater degrees. In spite of this, through the process of viewing the film, the disoriented viewer becomes more oriented in space due to familiarity, and even to a certain extent, has a greater knowledge of the hallway by latching on to certain “orientation devices” that begin to present themselves in the film, such as the door and the the fountain that is adjacent to the camera. These then become percepts, objects that objectively occupy a specific space that the individual becomes familiar with, and thus latch onto. Through this, the viewer reorients themself. This then is more akin to the situation
Gehr states, “Somebody gave me this flip book, just sheets of paper and as you use your thumb to move those sheets, still images take on a life, they start to move, but you can move them forward and backwards, you can flip it around” and then compares it to the sense of movement in Serene Velocity, saying “It deals with space, and what happens on the plane, with the fact that you are working with this deep space and the same time with frames, no movement. It’s all in the way we see. It’s real. The experience of space is real.” In a flip book, the viewer participates in the sensation of a moving image, again allowing for the “abstraction and experimentation” of sensation to take place despite the reality of what is actually being perceived, which is in reality is simply the movement of sheets of paper with images on them. Similarly, viewers of Serene Velocity concede their reality and understanding of what the hallway is, and participates in the piston-like sensation that the film creates. Gehr states that film and video are “all part of the experience of consciousness,” and in Serene Velocity Gehr contrasts the sensation of movement with the objectivity of the stationary camera, thus providing contrasting experiences of consciousness, one that initially comes very naturally, and another that must be rationalized to understand as the …show more content…
These “orientation devices” such as the position of the lights that line the ceiling, the fountain, and the door at the end of the hallway, give the viewer of the film a point from which to reference, and orient themself. However, in contrast to the example Ahmed uses in the text “Queer Phenomenology”, where an individual is introduced blindfolded in an unfamiliar room, and must orient themself through “orientation devices” and the directionality of left and right, the viewer of Serene Velocity is allowed to begin oriented in space, with a general understanding of the hallway, and then become disoriented as the focal lengths begin to shift by greater degrees. In spite of this, through the process of viewing the film, the disoriented viewer becomes more oriented in space due to familiarity, and even to a certain extent, has a greater knowledge of the hallway by latching on to certain “orientation devices” that begin to present themselves in the film, such as the door and the the fountain that is adjacent to the camera. These then become percepts, objects that objectively occupy a specific space that the individual becomes familiar with, and thus latch onto. Through this, the viewer reorients themself. This then is more akin to the situation