LIMINAL PLACES -Larry Shao Solo Exhibition
臨界空間:邵樂人個展
2010.06.05 ~ 2010.07.04
臨界空間:邵樂人個展
2010.06.05 ~ 2010.07.04
Something 'liminal' is something that exists at the threshold of human perception, something barely perceptible. As a person moves through a transit setting (airport terminals, metro stations, building lobbies, traffic intersections, escalators, elevators, etc), his or her experience with the space often is minimal. While the conscious mind wanders, he or she is there and not there simultaneously.
Liminal Places consists of two bodies of works – a series of photographs and a collection of videos. The photographic works explore how the human perceptual machinery converts transit spaces to a liminal status; once these spaces are rendered liminal by people's inattention, the very existence of the places become transient. The video works depict natural rhythms found in the same environments. While the camera remains stationary from beginning to end, the structure of each piece simulates classical music – an A-B-A format in which ‘nothing’ happens, ‘something’ happens, and then ‘nothing’ again. Each excerpt is drawn from hours of footage. From within those hours, I delight in discovering these liminal ‘somethings’.
If all human activities are viewed as a kind of symphony, it isn’t very difficult to find a crescendo, a sforzando, or a diminuendo. With all the materials in an urban environment, each person a music note, the collective often times self-compose into a polyphony. What I came to find out is this: if anyone steadfastly sits at one place long enough, “chaos” too can be orchestrated.
閾值，又叫臨界值，是指一個剛剛能引起差別感刺激的最小強度，從而可能會被完全忽略。當一個人行進在過度空間時（如機場待機區、捷運站、大樓大廳、交通路口、電扶梯與電梯）、他對那種空間的體驗時常是極微的。
臨界空間:包括攝影與錄像兩系列作品。攝影系列探索著人類如何以自我的感知能力將過度空間轉變成閾限狀態。當這類空間在人們的不經意之下變的不顯著，它的存在性也隨之而稍縱即逝。錄像作品描繪在這些地方可找到的一些自然律動。攝影鏡頭捕捉的場景模擬著古典樂的Ａ-Ｂ-Ａ構造─由”無”的形式、發展到”有”、再回歸為”無”。每個章節來自於在過度空間長時間的持續錄影摘取，我也在這些錄製片段的過程中欣喜察覺那微乎其微的”有”。
若拿古典樂來比喻人類的活動，要尋得漸強、突強、漸弱的演奏型式其實不難。把每個個體當作個音符，這些都會中的元素自然會組成一首複音交響曲。在這系列的創作過程中我發現ㄧ件事: 只要ㄧ個人堅定的停留於ㄧ地，”混亂“也可像樂曲ㄧ樣被編制。
Liminal Places consists of two bodies of works – a series of photographs and a collection of videos. The photographic works explore how the human perceptual machinery converts transit spaces to a liminal status; once these spaces are rendered liminal by people's inattention, the very existence of the places become transient. The video works depict natural rhythms found in the same environments. While the camera remains stationary from beginning to end, the structure of each piece simulates classical music – an A-B-A format in which ‘nothing’ happens, ‘something’ happens, and then ‘nothing’ again. Each excerpt is drawn from hours of footage. From within those hours, I delight in discovering these liminal ‘somethings’.
If all human activities are viewed as a kind of symphony, it isn’t very difficult to find a crescendo, a sforzando, or a diminuendo. With all the materials in an urban environment, each person a music note, the collective often times self-compose into a polyphony. What I came to find out is this: if anyone steadfastly sits at one place long enough, “chaos” too can be orchestrated.
閾值，又叫臨界值，是指一個剛剛能引起差別感刺激的最小強度，從而可能會被完全忽略。當一個人行進在過度空間時（如機場待機區、捷運站、大樓大廳、交通路口、電扶梯與電梯）、他對那種空間的體驗時常是極微的。
臨界空間:包括攝影與錄像兩系列作品。攝影系列探索著人類如何以自我的感知能力將過度空間轉變成閾限狀態。當這類空間在人們的不經意之下變的不顯著，它的存在性也隨之而稍縱即逝。錄像作品描繪在這些地方可找到的一些自然律動。攝影鏡頭捕捉的場景模擬著古典樂的Ａ-Ｂ-Ａ構造─由”無”的形式、發展到”有”、再回歸為”無”。每個章節來自於在過度空間長時間的持續錄影摘取，我也在這些錄製片段的過程中欣喜察覺那微乎其微的”有”。
若拿古典樂來比喻人類的活動，要尋得漸強、突強、漸弱的演奏型式其實不難。把每個個體當作個音符，這些都會中的元素自然會組成一首複音交響曲。在這系列的創作過程中我發現ㄧ件事: 只要ㄧ個人堅定的停留於ㄧ地，”混亂“也可像樂曲ㄧ樣被編制。