It may be considered that Perspective (I) is suggesting a statistical
and atomic account of space from a probabilistic composition of movements.
Its result, as a set of light lines which respond to a foundamental
interaction with space, is in some way similar to the first experiments
which sustained the quantum and probabilistic theory of matter: spectra.
These, obtained as light emissions of excited matter or its absortions,
formalized the unavoidable dialectical essence of our relation with
matter -central to quantum theory.
Light perception and its reaction to visitor's movement when crossing
a space is, in Perspective (I), the element proposing this feature
of space nature.
Some absortion spectra
It is clear in Perspective (I) a wave component in the movement
of light lines. It is possible to go further and to propose this
component as the acoustic nature of its movement: lines reverberate as
if they came from a musical instrument. The installation is thus related
with sound and music, and its reflection over perspective intuition approaches
to the question posed by philosopher P. Sloterdijk, where are we when we
are hearing to music?, interpreting it as, which is space nature, if
it is transformed when we are hearing to music?
From the possibility of a land with no names, without history and
conventions, spanish philosopher José Luis Pardo, in his About Spaces:
to paint, to write, to think, explores the consequences of the
impossibility to project what has been learned, and comes to the
“space erection” where “the distinction between depth and width ceases,
and space shows its superficial genesis, its morphogenetical forces”.
In Perspective (I), this superficial genesis of space from algorithmic
forces is obtained after experiencing a probabilistic multiplicity of
undistinguishable events, that is, after having a non-coordinate space,
in analogy to the land with no names.
Saint Victoire Mountain, by Cézanne, Pardo's object of thought in his About Spaces
The space's nature formalization attempt through a simple set of
vertical lines is a standard, rationalist, reductionist attempt.
Similar probably to the imposition of circles and spheres of ancient
universe conceptions and astronomy untill the works of Kepler and,
possibly, Poincaré.
Technics used are again responsible of this imposition. Not only in
which respects to vertical lines, but to its generating algorithm: in
plastic generative compositions resulting chords of circle interections
are a known resource shown in works and courses by authors such as Casey
Reas, Daniel Shiffman and Jared Tarbell. In the online and the CD versions
of this statement a visualization of this construction is presented.
In his short writing, Moholy-Nagy shows the possibility of light
as a means of composing, exploring and extending our perceptive and
visual experience and thus modifying “our intellectual experience [that]
complements spatially and formally the optical phenomena perceived
by the eye”. Perspective (I) is included in this line of research and creation.
Light: A medium of plastic expression, by L. Moholy-Nagy
