The iconic ecosystem of the contemporary world,  force us to recycle and remix. The image connect thought and action and, as Jean-Luc Godard said, does not belong to the person making it, but to person employing it. Every creative act is reduced to a combination of previous creation. In the book “The film according to Hitchcock”, François Truffaut describe the wide production of the English director, talking especially about his visual invention, montage, framing cut, storytelling converting the internal space into a metaphor of the town. The director visual invention re-invent the reality through the manipulation of the moving image: to make some scene more meaningful, the object employed for the filming are scaled and the perspective forced to amplify the symbolic value of the single photogram. The audience does not notice this manipulations, the image simply join the field of vision and get impressed into the memory. The image politic, more which to the excess, are linked to the capacity of dismissing, removing, and censoring it. The human eye model is losing its device in favour of a new logical visual production that prefer images  being built starting from other. Today the architectural image act on our imaginary more than the build architecture. The attitude of the person looking is not only an esthetical choice let alone a neutral reception: it rather concerns a comparison with the fixed energy of the images. To understand this science without name that rule our visual field, we have to step back few years and go back to the show Inside an artistic project of Dimitris Papaioannou gone on stage in Athens during 2011. This work has been able to include different worlds, each of them with a codified system of image being represented  with the specific aim to tell the contemporary alienation to inhabit. Fragments of pictures, paintings and cinema have been assembled together and reinterpreted through the unconscious philtre of our memory. We can consider this project as a paradigm of the contemporary situation where the building of the architectural image is more valuable of the architectural itself. In Inside indeed the image has been employed as a museum area, the audience observe a slow action, repeated, a domestic ritual turning into an image of the city. The image grammar, employed in many different ways, shaping our future, slowly replacing the building architecture with its repeated image.

INSIDE: a grammar of the image

luca galofaro
2020-01-01

Abstract

The iconic ecosystem of the contemporary world,  force us to recycle and remix. The image connect thought and action and, as Jean-Luc Godard said, does not belong to the person making it, but to person employing it. Every creative act is reduced to a combination of previous creation. In the book “The film according to Hitchcock”, François Truffaut describe the wide production of the English director, talking especially about his visual invention, montage, framing cut, storytelling converting the internal space into a metaphor of the town. The director visual invention re-invent the reality through the manipulation of the moving image: to make some scene more meaningful, the object employed for the filming are scaled and the perspective forced to amplify the symbolic value of the single photogram. The audience does not notice this manipulations, the image simply join the field of vision and get impressed into the memory. The image politic, more which to the excess, are linked to the capacity of dismissing, removing, and censoring it. The human eye model is losing its device in favour of a new logical visual production that prefer images  being built starting from other. Today the architectural image act on our imaginary more than the build architecture. The attitude of the person looking is not only an esthetical choice let alone a neutral reception: it rather concerns a comparison with the fixed energy of the images. To understand this science without name that rule our visual field, we have to step back few years and go back to the show Inside an artistic project of Dimitris Papaioannou gone on stage in Athens during 2011. This work has been able to include different worlds, each of them with a codified system of image being represented  with the specific aim to tell the contemporary alienation to inhabit. Fragments of pictures, paintings and cinema have been assembled together and reinterpreted through the unconscious philtre of our memory. We can consider this project as a paradigm of the contemporary situation where the building of the architectural image is more valuable of the architectural itself. In Inside indeed the image has been employed as a museum area, the audience observe a slow action, repeated, a domestic ritual turning into an image of the city. The image grammar, employed in many different ways, shaping our future, slowly replacing the building architecture with its repeated image.
2020
9788822904928
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11581/439566
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