Archive for May, 2015
Human perception is a synthesis of life experiences whereby interpretation is established. You may like or dislike a visual or auditory, (really sensory), experience… but why? What makes it pleasing to you and not others? Or vise-versa? Again, before we are exposed to said stimulus we have already arrived at some conclusions. Here’s an example:
Four people from a different planet arrive on earth. None of them have ever been exposed to apples. One is exposed to a Green Apple, another a Golden Apple, another a Figi Apple, and another, (a control subject), still hasn’t been exposed to apples. The person with the Green Apple tastes it for the first time and says, “Apples are sour.” The person with the Golden Apple says, “Apples are sweet” after tasting it for the first time. And finally the person with the Figi Apple says, “Apples are Sweet and Sour”. Again the final subject has no opinion. At the point in which these people are exposed to an outline of the structure of an apple, the person with the exposed Green Apple would say, “that is an image of something sour.” The person with the Golden Apple, when exposed to the image structure of an apple says, “this is an image of something sweet.” The person with the Figi Apple, when exposed to the image structure of an apple says, “this is an image of something both sweet and sour”. Finally the control would say, “I see this image, and it is what it is, I have no opinion as I don’t know what it is.” Or in other words the person is looking at the image without preconceived ideas.
Another way to put it is: sour (1), sweet (1), both (2) or none (0). (0) seems the point of most objectivity… but how does one get there? I don’t have an answer to this at the moment. But something tells me it has to do with dealing with the structure at it’s very base. If we should have lost all our senses, and come to know the world blindly, how would we appreciate this world differently if we at some point gained our senses again? Going from nothing, to something. Or better stated, going from something, to nothing, then back to something again with renewed perspective. It’s a question I hope to answer some point in my cinematic pursuits.
When I thought about creating a cinematic language, I started with thinking of cinematic variables working within the confines of “brackets” or “a screen”. Little did I know what I was investing myself, and teaching myself how to do, was the addition (for shot-to-shot, [name montage type], editing) and multiplication of sequences (or themes) in a mathematical matrix/”cinematic matrix”. What I’m discovering is that in the process of writing a cinematic language, I am borrowing elements from symbolic logic, algebra, and I’m sure a few other elements as I go along this path and course of action. I’m in the process of coming up with algebraic “terms” for techniques or “forms” and logical terminology for the distribution of “content”. I believe I’m on the right course, and I hope to proceed.