FRAME

frame exists to dictate the boundaries of ideas in my project. imagine frame in the context of a comic: each scene is dictated by the size of its cell, and each narrative is dictated by the size of its overarching frame. my project focuses "as i will further elaborate in a later post" on the desanctifaction of the frame and the exploration of different nodes of interpretation in order for my idea to jump from frame to frame or entirely break through the given frame. i do this by implementing concentric frames in order to undermine their authority in my piece.

juxtaposing my framing philosophy with images from Super Vision:
(178) these cross-sections of the human body contain many concentric frames: first, the outline of the body, then the framed organs, and eventually the frames of cells themselves. the human body is a problematic frame in that it constantly changes appearance and is in constant microscopic (skin shedding) and macroscopic (defecation, spitting, bleeding) flux. obscured by the framing of the skin, frames are being broken and unbroken constantly by the body.

(28) how do you frame gigantic images not normally seen by the naked eye, such as earth itself? by converting something "unphotographical" into a constructed image, compromises must be made: in this case, pixelizaton of the image. this shows the restrictions apparant in framing something that's not supposed to fit on the frame of a computer monitor or a page.

(138) more examples of skin shedding. the frame of the cell can be useful at first, and later degrade into uselessness. the image itself seems barren, but the potentiality is actually buried under the ragged landscape.

(162) the "snowflake" created by connected polarities reveals the potential of an unplanned, random frame. what can be derived for this? its spontaneity implies the significance of a hastily created frame of mind within a soupy frame of particles.

(168) Super Vision notes that "x-ray perspective enables us to see even everyday things with additional dimensions normally unpercieved." the x-ray, then is another indication of the power of a cross-section: being able to see an image's innards that are normally obscured.

(157) ELASTIC FRAME: one that is stretched between two nodes of perception by force. the "snapback" of the rubber bands after being cleaved by the bullet shows a return to their natural frame.

(98) in contrast with the dead, useless frame of a skin cell, the micrograph of the mast cell indicates a moving, alive frame, even within the frame of a body. Super Vision regards it as a "beast": it's a microcosm of the life which it supports.

(99) these geologic cross-sections show how texture can frame a piece. It also indicates that texture can be read and translated by light into a digitally constructed frame which places it in a different space of comprehension.

SYMMETRY SYMMETRY SYMETTRY SYYMETRY SIMITRY SYYMOURTEE
ARRAY: the significance seems to be in the uniform spacing between objects. this seeks to create an identity for the image as a whole, and undermine the force of each individual repetition.
ROTATION/REFLECTION: the important thing here is that symmetry is created from a central node or line that doesn't visually exist within the composition: it's an invisible dictator which the piece literally revolves around.
GNOMON: recall the "dead tissue" philosophies above. gnomons grasp the concept of building and growth. i'm surprised the book didn't incorporate the concentric gnomon inherrant in tree rings.
RADIAL: seemingly the natural progression of ROTATION/REFLECTION. it's a reflection that has obtained perfection by extending in all possible directions (circle/sphere).