7/7/2023 0 Comments Time space compression org![]() ![]() The black square symbolized the death of traditional art and nature, deriving from Einstein’s new relativity theory, speed of transportation and means of communication. The Supermatist Kazimir Malevich placed his “Black Square” (1923) canvas in the traditional position of a holy icon in Russian homes. The artist’s acceleration and omnipresence transformed the process of artistic creation to an almost religious significance because it involves restructuring of novel time and space, a penetration into reality itself. Similar nonlinear multifocal techniques were implemented by Cubists such as Picasso, and Futurists such as Giacomo Balla who created a visual analysis of objects made simultaneously from different spatiotemporal points of view. The mobile accelerated eye and consciousness that swiftly jumps from point to point will tend to focus on random details or to accumulate empathetic impressions of tactile sensations. The overall impression is lack of depth, reinforced by the use of broad “photographic” light eliminating ―natural― shadows. The background woman who wades in a stream is too large in comparison with the figures in the foreground she seems to float. The male figures are dressed in Charles Baudelaire’s flâneur fashion. This phenomenon of nonlinear time and space sensation, together with industrial mass reproduction is a basis to the photographic and filmic vision and notion of montage, as well to the non linear geometry implemented by Impressionists like Édouard Manet in “Luncheon on the Grass” (1863). The overall impression is of compression and distortion caused by the Doppler Effect, as perceived by the artist positioned relative to the speeding locomotive, or on a ship’s mast at stormy sea, as Turner used to do for close experience of speed and nature forces. ![]() In “Rain, Steam, and Speed The Great Western Railway” (1844) Oil painting, he confronted a “slow” ploughman in the field, with a high speed locomotive engine diagonally crossing while causing a whirlpool to the pastoral landscape. The first artists implementing the time-space compression aspects. The accelerated viewer was able to perceive the discrete, as it rolls past the coach window indiscriminately it was the beginning of the synthetic glance philosophy. This foreshortening of time and space, started by the train’s speed, caused display in immediate succession of panoramas and objects that in their original spatiality belonged to separate realms. The train and railway system caused distortion in the traditional perspective and sight. ![]() The new “high-speed” technologies were the origins of the modern “annihilation of space and time” upon which nineteenth and twentieth-century perceptions of the real world depend. It brought about the perceptual changes needed in early twentieth- century culture for the rise of the new media that captured communications: photography, cinema, radio and the telephone. The industrial revolution introduced the railroad and the telegraph line, paving the way for future changes in communications. It refers to speed-up in the pace of life, while abolishing traditional spatial barriers. The term “time-space compression” was coined by David Harvey in his book, “The Condition of Postmodernity” (1989). Time and Space Compression in Cyberspace Art Leonardo Abstract Services (LABS) 2010-2012 Ephemeral8, “Bits of My Life” (BML 2007).Įphemeral8, “Bits of My Life” (BML 2007). ![]()
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