Visual Planes Shift
A reflection on how the field of vision impacts thought formation while walking – prompts for further investigation.
Neuroqueer Inquiry
This is a work-in-process, documenting dyspraxis in action. Unconventional syntax and organization are left intact, and updates occur on occasion when new connections or information emerges. .
Visual planes shift. I walk with a state of awareness of more in view than just straight ahead – that zone of sight, that liminal state is somewhere between hypnotic and absolute conciouness. What I see in the periphery and what is out of sight, just beyond the horizon, informs our bearings – where we can and cannot go, what is and is not present. I think with this shifting horizon and its peripatetic potentialities and its closures. Aware that the shifting optical stimulation is triggering synapses differently than they would be in a more stationary state. I think of the muscular-skeletal events contributing to these though experiments and consider Virginia Woolf’s stream-of-consciousness writing style. I am thinking of the Waterloo commuters in their narcotic dream – and how countryside, recreational walking challenges this state. I think of these commuters dog walks and wonder, if with their phones, the commute state now bleeds into their recreational walking.
April 12 2023
The leering qualities of a gaze, the love to look at a screen that attaches our desires and fantasies to concrete images and back, are easily and succinctly attached to sexual instincts that articulate desire.
Thinking about …
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16, no. 3 (October 1, 1975): 6–18.
Sturken, M. “Narratives of Recovery: Repressed Memory as Cultural Memory.” In Acts of Memory: Cultural Recall in the Present, edited by Mieke Bal, Ebook. Amsterdam: UPNE, 1999.
I wonder about the overlaps with rhythm, routing and place both in mind and experience. I am thinking about the reader and how they might go in and out of step with whatever is in front of me, which is now, or will be, in front of them. These rhythmic, performative acts, restaged on a page, carefully considering how words appear systematically on the physical page – the intentional use of punctuation and sentence structure, which surface they appear on. Paragraphs starting and restarting for rhythm and pace. What will be understood (differently) when attention is given to the particularities of typeset? Looking down and through the guide, there are directions. These pages frame what is actually being ‘said’ by the landscape and environment – there is a margin where the surface and landscape bleed together.
What bearing does this bleed have? What is the right pace of being seen? Being heard, understood, grasped?
