EINSTELLUNGSRAUM e. V. Susan Paufler: geteilt - zerteilt

we get the image of an occupant of a vehicle that is indeed enclosed by space it traverses but he is not connected with it. Maybe this situation of being enclosed also is linked to us speaking of occupants in the same way when we mean passengers or prisoners. This phenomenologically descri- bed experience of travelling casts into doubt if the situation of a traveller is indeed one of freedom or rather one of imprisonment. Certainly travels and freedom to travel are of high value from the viewpoint of human rights but seen through the eyes of phenomenology they are hardly to be seen as a method of adoption of space with increasing speed. Because of this travelling now-a-days is an experience of location shifting which espe- cially also has pushed back aesthetical annexation of the landscape. Paradoxically because of this the price to pay for the traveller is temporary imprisonment in subsistence as passenger because a passenger is more or less captivated to his seat during the journey and has to more or less remain in a position and is subject to the imponderabilities of a journey. This circumstance becomes evident by screens and other entertainment media have redeemed viewing out of the window.

Thus taking photographs during the ride has to be valued as an attempt to escape by which the temporary prisoner tries to free him/herself out of the specified situation or rather making himself an escape available by certain moments of the journey are made accessible for analyses by fixating the point in time - like it is possible also by Susan Paufler's photos.

By working with the camera it is tried to avert the extremely fleeting moment. But the principle of choice is a coincidental one that tries to fixate the place by optics and define the moment of exposure but still cannot truly find out something. In conclusion the criteria for the choice of the photographs are aesthetic ones what does not make the statement about the photographed place a necessity but amplifies it in its arbitrariness. None of the here presentented photographs could be related to a certain place.

we get the image of an occupant of a vehicle that is indeed enclosed by space it traverses but he is not connected with it. Maybe this situation of being enclosed also is linked to us speaking of occupants in the same way when we mean passengers or prisoners. This phenomenologically descri- bed experience of travelling casts into doubt if the situation of a traveller is indeed one of freedom or rather one of imprisonment. Certainly travels and freedom to travel are of high value from the viewpoint of human rights but seen through the eyes of phenomenology they are hardly to be seen as a method of adoption of space with increasing speed. Because of this travelling now-a-days is an experience of location shifting which espe- cially also has pushed back aesthetical annexation of the landscape. Paradoxically because of this the price to pay for the traveller is temporary imprisonment in subsistence as passenger because a passenger is more or less captivated to his seat during the journey and has to more or less remain in a position and is subject to the imponderabilities of a journey. This circumstance becomes evident by screens and other entertainment media have redeemed viewing out of the window. Thus taking photographs during the ride has to be valued as an attempt to escape by which the temporary prisoner tries to free him/herself out of the specified situation or rather making himself an escape available by certain moments of the journey are made accessible for analyses by fixating the point in time - like it is possible also by Susan Paufler's photos. By working with the camera it is tried to avert the extremely fleeting moment. But the principle of choice is a coincidental one that tries to fixate the place by optics and define the moment of exposure but still cannot truly find out something. In conclusion the criteria for the choice of the photographs are aesthetic ones what does not make the statement about the photographed place a necessity but amplifies it in its arbitrariness. None of the here presentented photographs could be related to a certain place.	V Space as illusion Even though our attention is quasi separated in 'bundles' we talk about a stream of consciousness. When and how does it stall? What happens when the offering exceeds the absorbance capacity of a viewer so that collection of impressions cannot keep up the abundance of hurrying past things and sights? This may happen in travelling but also by multiplicity of media as well as dreams and hallucination - a complex field that has to be considered as well even when now only a few aspects can be included. In fact attention margins are notably temporally narrowed resulting in fractioning of per- ception so that we can perceive segments for example of a journey at the most. When one brings to mind the conceptions of space one notices that also seen historically it has always been a construct which was presented once definite - as container - and once indefinite. Accordingly to Platon it is just there, so that the things of existence and also those of dreams are able to take space. For Aristoteles space was for keeping things together and in order. Ever since the Renaissance one imagines space as an infinity whereas now-a-days the followers of the big bang theory regard the universe as a finite one whilst others suspect several worlds/cosmoses existing next to each other. The subjectively perceived space is not the one of philosophy and natural sciences and is made disappearing by speed - as shown above. It has no continuity, it cannot be kept in memory - certainly not precisely. As a result of the development of photography and film the break-up of the perception of space has advanced with the neglect of perspective in art. Space wasn't needed any longer to position people like in the central perspective painting of the Renaissance where after all every person could step in as tangible person instead of saints, gods and prophets. Modern people are uprooted - they have assumed something ghost-like. Thus not without reason do two faces appear on the here exhibited 30 photos. They
.	Vernissage
Supported by the department for culture, sports and media of Freie und Hansestadt Hamburg and district office Wandsbek
back	next