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From this vantage point, we see forms and figures which seem to fly, futuristic architectonic structures and intermeshing lines resembling construction grids, or perhaps lines of movement or flight.

The orbital perspective immediately calls to mind images from a shared store of pop culture — from fantasy or science fiction films, for example. The lines of perspective in the cartographic grids which run through all of her work always lead to a horizon which — unlike in actual cartography — is to be found within the frame of the picture. Orbital and cartographic points of view alternate and merge with elevated ground visibility.

In this way, Mahlknecht is able to combine surveillance with side views in her pictures and drawings of imaginary landscapes.

David Komary 2008

Two different modes of looking, or rather of representation, converge and fuse into one observatory focus: They are schematic, ordered. The aesthetic i am not single i am not taken meaning of a particular way of looking the individual perception of an observing subject are not of interest in a map. Instead, the emphasis is on an abstract, mathematical landscape model, which can convert every location and feature into points in a matrix of coordinates. All places become measurable, and all can be named.

In this respect, a map is not so much a picture as an instrumentalisation of sight, an administrative instrument, political in the final instance.

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It represents territorial definition and the drawing of borders, and governs inclusion and exclusion, whether social, economic or political. There seems to be a link between i am not single i am not taken meaning to the highest vantage point and aspiring to power: An artistic depiction of a landscape attempts to make the process of looking visible, to make it available to the observer by aesthetic means.

i am not single i am not taken meaning

Although the horizon seems to us to be a natural phenomenon, it is in fact due to the limited focusing capacity of our eyes. The artist carries out pictorial land surveying of her imagination, using existing conventions of seeing and representation. It seems as if she is trying to project her fantasy world s picture by picture onto a similarly imaginary system of coordinates, to investigate them through her drawings, without however giving the spaces she evokes a fixed aesthetic form from just one perspective.

  1. David Komary – Brigitte Mahlknecht
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The aesthetic she generates here is multidimensional and polychronic, characterised by discontinuity. Different transparent spatial layers, often only sketched in or rather jotted down with a very few lines, are built up into a multiplicity of strata, in which various spaces and times appear entwined.

Circular causality and imaginary geometries of extreme complexity are constitutive for the structuring of space in these drawings. Space and picture exist in a reciprocal relationship: Front elevations, ground plans and side elevations are often featured in conjunction with views from a central perspective as well as views with different chronological reference points.

Superimposition, fusion and condensation replace pictorial logical and temporal causality. The different levels and ways of looking which Mahlknecht fuses and synthesizes in her drawings interact and interfere with each other — map, central perspective, landscape picture. Amorphous forms converge with geometric structures.

In this way, the pictures do not so much represent single objects or events, rather than multifactorial, macroaesthetic processes. They are superstructures, capable of integrating a multiplicity of microstructural processes: Triaxial Euclidean space is only apparent here as a fragmentary, anachronistic i am not single i am not taken meaning.

Brigitte Mahlknecht turns the superior vantage point of centralised perspective against itself: By using perspective drawings against centrally focussed perspective itself, she also casts doubt on other modes of looking and representing which assume a sovereign, auctorial view: The TV armchair is promoted to virtual grandstand — the pleasure effect to be had from i am not single i am not taken meaning kind of medial overview is a direct result of this elevated position, in which the viewer becomes observer, but remains at a safe distance.

Instead, it is a complex, relational process that plays a constitutive role in reality itself. Reality is not to be understood as a straightforward copy of ontological facts, but as a cognitive construct, which is always the product of cultural negotiation, i am not single i am not taken meaning constantly being renegotiated.

Human contributions

It is precisely this historical and socio-cultural renegotiation that Mahlknecht subjects to a critical pictorial reading. By deconstructing representative systems such as i am not single i am not taken meaning perspective, maps, the orbital view from space and so on, she reveals the concepts of time and space as hegemonial, canonised conventions of looking.

Every sign has the potential to be continued. An inter-pictorial system is created, with reference not only to the images present in the drawings i am not single i am not taken meaning also to remembered images from our cultural stores for example, from science fiction ; these images merge, become indistinguishable, give each other meaning and narrative potential.

The artist makes rooms in her drawings for both illusion and disillusionment, for both the present of the aesthetic act and for memory.

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The landscapes and maps she jots down are made out of condensed imaginary signatures, a process defined by its very lack of definition and by its unpredictability. It is the definitive lack of definition that keeps the process of annotation moving. This kind of drawing is like a constant searching movement: In this context, drawing is not a way of positing anything definitive, but of leaving latent traces. The actual significance of the drawing has been displaced, shifted into a space of indeterminacy.

The presence and sensual nach trennung neue leute kennenlernen of the aesthetic event always precedes comprehension. The unremitting series of stimuli on offer mean that there is not enough time for a congruent semantic i am not single i am not taken meaning to form.

The time lapse immanent in the perceptive process creates a space for possibilities that drives the drawing process.

Он и понятия не имел, кто бы это мог Наконец между деревьями впереди заискрились огни поселка, но их блеск уже не был ему нужен, потому что тропа у него под ногами превратилась теперь в ручеек неяркого голубого огня.

Мох, по которому он ступал, светился, а каждый шаг Олвина оставлял темные отпечатки, которые медленно становились неразличимыми.

It is a mode of discovery that is changed in its turn by the processes it sparks off. Against this background, her drawings are to be read less as phantom drafts or as a recourse to bygone utopias of a possible future science fiction than as a search for visual experiences of the contingency of space.

Merve, Baupläne zwischen Raum. Visualität, Geschlecht und Architektur Vienna: Edition Seleneff.

Zwischen Sprachphilosophie und Kulturwissenschaft Frankfurt a. Suhrkamp,f. Koordinaten des Imaginären Anmerkungen zur Kartographie des Imaginären in den Zeichnungen Brigitte Mahlknechts Die Perspektive macht den Beobachter sichtbar — und zwar gerade in dem Punkte, in dem er für sich selbst unsichtbar ist.

Die Zeichnungen von Brigitte Mahlknecht weisen dem Betrachter stets einen erhabenen, beinahe orbitalen Blickpunkt zu. Aus dieser Position des Überblicks sieht man flugobjektähnliche Formen und Gebilde, futuristisch anmutende architektonische Gefüge, Liniengeflechte, die an Konstruktionsraster, oft auch an Bewegungs- bzw.

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Fluglinien denken lassen. Die orbitale Blickregie aktiviert unmittelbar kollektive, popcodierte Bilder — etwa aus Fantasy- und Science-Fiction-Filmen. Man könnte meinen, Mahlknecht notiere zeichnerisch Ausschnitte eines imaginären orbitalen Überflugs. Doch sieht sich der Betrachter nicht gänzlich des Bodens entrückt.

Die Fluchtlinien der geometrisch-kartographischen Raster, die Mahlknechts Bilder durchziehen, münden stets in einen Horizont, der sich — anders als bei der Kartographie — innerhalb des Bildgevierts befindet.

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