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Which clippings match 'Eyes And Ears' keyword pg.1 of 1
13 MARCH 2013

Op Hop/Hop Op by Pierre Hébert

"Ročno izdelan eksperiment z utripajočo animacijo v slogu praskanke na filmski trak. Prikazuje skupino štiriindvajsetih abstrahiranih podob, ki se na zaslonu razporejajo in prerazporejajo v različnih kombinacijah. Rezultat je spreminjajoč se vzorec zvoka in slike, ki ima za oko in uho drugačen ritem.

A hand–made, scratched–on film experiment in intermittent animation. The images are a group of twenty–four visuals, all non–representational, which arrange and rearrange on the screen in many combinations. The result is a changing pattern of sound and image that has its own rhythm for eye and ear. "

(Animateka International Animation Film Festival, Ljubljana, Slovenia)

Pierre Hébert (NFB), Kanada/Canada, 1966, 35 mm, 3'30''

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TAGS

1966 • Animateka festival • arrange and rearrange • black and whiteCanadachanging pattern • combinations • experimental filmeyes and earsgeometric formshandmade • intermittent animation • materialist cinemanon-representational • Op Hop Hop Op • patternPierre Hebert • popping • rhythmscratchscratch film • scratched film • sound and imagevisual abstraction

CONTRIBUTOR

Simon Perkins
03 MARCH 2013

The trouble with Kant's spatial metaphor

"In consequence of this revolutionary assertion Kant states that: 'Space is not an empirical concept which has been derived from outer experiences.' (B/38) On the contrary: '…it is the subjective condition of sensibility, under which alone outer intuition is possible for us.' (A/26; B/42)

In other words, Kant asserts that space (and time) are not objective, self–subsisting realities, but subjective requirements of our human sensory–cognitive faculties to which all things must conform. Space and time serve as indispensable tools that arrange and systemize the images of the objects imported by our sensory organs. The raw data supplied by our eyes and ears would be useless if our minds didn't have space and time to make sense of it all. ...

Kant's view of space (and time) is the groundwork of his Critique [of Pure Reason], However the inseparable bond he claimed between geometry and the nature of space serves to undermine his case rather than support it. ...

When Kant refers to geometry, he must mean Euclidean geometry, since Non–Euclidean geometry, the brainchild of the 19th Century, was unknown to him. Hence space, in Kant's philosophical system must conform to Euclidean geometry. Norman Kemp Smith, in his Commentary on the Critique, remarked that for Kant '…space in order to be space at all, must be Euclidean.'

Space, in Euclidean Geometry, is a concept which is independent of the attributes of our human minds and senses. The word Geometry is derived from Greek – geo 'earth', and metron 'to measure', namely 'earth measurement'. With such semantic–conceptual roots its hardly conceivable that Euclid regarded Geometry as divorced from an objective independent space."

(Pinhas Ben–Zvi, 2005, Philosophy Now)

Ben–Zvi, P. (2005). "Kant on Space." Philosophy Now, January/February 2005(49).

TAGS

cartographic metaphor • Critique of Pure Reason • empirical concept • Euclidean geometryeyes and earsgeometryGottfried Leibniz • human minds • human perception • human senses • human sensory-cognitive faculties • Immanuel KantIsaac Newtonlogical-analytical paradigmmetaphors of reality • nature of space • Non-Euclidean geometry • Norman Kemp Smith • noumena • noumenon • objective independent space • objective knowledgeobjective realityobjective world • outer experiences • philosophical system • self-subsisting realities • semantic construct • sensory organs • space and timespatial metaphorsubjective conditiontime

CONTRIBUTOR

Simon Perkins
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