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Living In Time

The other essential element of constituting living pictures is " Time." Our body inhabits both time and space, same as movements, existed in between. "Time could be considered as measured and quantified because it was about movement and duration in space, according to Aristotle."27 However, displaying a visualization of the human bodies’ continuous movements has been difficult for both scientists and artists. Eadweard Muybridge, a pioneer in early photography of motion studies, is best known for a series of time-lapse photographs of horses, which showed that at certain moments in time a galloping horse has no legs touchingthe ground.28 His photographic features depicted movement as a series of discrete moments on separate, sequential negatives. Each plate shows the same subject in sequential phases of one action. From his influential series “Animal Locomotion,” he recorded diverse forms of movement from animals to human activities such as walking, running and descending stairs and boxing...etc.”29,30

The series of Animal Locomotion from  Eadweard Muybridge

In the same period, French physiologist, Étienne-Jules Marey, invented different types of techniques, so-called "chronophotography,"31 or "pictures of time," to archive the locomotion of the human body. Harnessing the curiosity from a doctor and a physiologist, he believed that "the human body was an animate machine, and he was inquisitive about how it functioned and what caused it to move."32 Seeing slow motions such as birds flying or people running was too quick to for the human eye to reflect. So, the technique Marey employed in analyzing motions was strobephotography, which is based on creating multiple exposures of a moving subject on the same photographic plate.33 What we see through his works is that life is lived in a microsecond, as he documented perpetual moments.

 Photograph by Étienne-Jules Marey, experiments documenting humans in motion and air movement which encounter different objects

The contributions from Muybridge and Marey have both influenced cinema and photography and my own artistic process. I think every motion can transform into numbers and register in our shell. That digital information can alter into the cluster of the points and lines, and then constitute delicate and dynamic graphics. So that it leads to my interest in parametric design and generative art. These two concepts are based on an algorithmics system, the expression of parameters and rules and digit gather, define, and encode. Similarly, imagine that thousands of installed coding in the human body encode sequences of every moment; entering in this constantly flowing data and creating new actions and coding repeatedly. Our body is creating paintings, the same as generative art, autonomously, using these types of invisible data, formed with countless flowing lines through the intersection of points and lines in the space. The trajectory of existence as if it shows that we live well in this world. Likewise, as if I start to analyze the bodily movement as digital numbers if everything in our body can reasonably encoding and decode, what is the difference between the human body and the synthetic body?

 Visual pieces, “Shell” and “Selfie”, 2019

The researching topic, the body, in this chapter, I got the chance to embrace and glance at the intimacy of the body from different angles, to analyze it through theoretical perspectives to personal stories and reflections. In the beginning, I mentioned the general ideas of how other fields see the body and back to the points of how I looked at my body, and how I began the relationship with cloth, my body, and then extends to space. I like the parts of the interview with other people to know about how they look at their bodies. The interview had bodily communications through our conversations. Maurice Merleau-Ponty and Me is a crucial section for me and inspiring the whole chapter, and I have different perceptions and views for seeing my body and others. Then, the section extended to the sensorial perception from the body, and how our body engages with space. So, I made some experimental videos and see how my body engaged in my studio and living room during the quarantine. Then, I extended a notion of how our bodies visualize in space and found the interesting and research of body moment which reveal more clear notions of the relationship between body and space and time.
This chapter for me has been like a journey of self-exploration. We all have our journey, and we carry our past with us. It is not easy to re-known and re-examine yourself. Sometimes we forget who we are, but the answer is always there. Because the body is a register, it can store every memory and experience. If you try to recall a thing from a long time ago, you ask the body. I am grateful that through this research trip I could find my roots and find out how they are influencing my artistic journey.

27.Marco Cesario,”The primacy of perception in the era of communication”,8.09.2008. https://www.resetdoc.org/story/the-primacy-of-perception-in-the-era-of-communication/ 28.Alexander Refsum Jensenius , “Some Video Abstraction Techniques for Displaying Body Movement in Analysis and Performance”,02.2013 29.“Chronophotograph,1894. Etienne-Jules Marey French” https://www.metmuseum.org/art/collection/search/265094 30.“Eadweard Muybridge: Animal Locomotion”, 2017 https://huxleyparlour.com/exhibitions/eadweard-muybridge/ 31.Chronophotography, is a photographic technique that captures multiple phases of movements. The best known chronophotraphy works were mostly intended for the scientific study of locomotion, to discover practical information for animal handlers and/or as reference material for artists.https://en.wikipedia.org/wiki/Chronophotography 32.Étienne-Jules Marey,https://www.magzter.com/article/Lifestyle/Better-Photography/tienne-Jules-Marey 33.Alexander Refsum Jensenius, “Some Video Abstraction Techniques for Displaying Body Movement in Analysis and Performance”,02.2013