Athens School Of Fine Arts
Masters Course “Digital Forms of Arts” 2005-2006
Labyrinth is a graphic resolution of a question of rhythm – a line regulation of a geometrically composite plan.
Though, its substantial context lies more on its internal path than on its outer design viewed from above.
The Labyrinth is experienced through ones inner flanerie. It is a space in which the movement experience can be held in the most simple optical Eyre.
The meaning and formation begins from the prehistoric times during which secret rituals occurred. Those spatial expressions related to the ancient ideas of the world thus forming into mystic dances and body sequences.
The Minoan Labyrinth refers to a mythical idea that life realizes in a cyclic manner in relating to a meta physic – non representative point. It forms around a cross [double axes] as symmetrical but non centric – distinguished structure in which every movement is realized in the cyclic space and time of the myth.
During the classical times the Labyrinths center is Socrates’ end point in which everything start from the beginning -nothing but an in-between passing through – the medium for finding the initiating idea.
Roman Labyrinth is a designed correspondence to being and non being [a route – center] thus referring to the former myth whereas Minotaur as the spirit of bad is imprisoned in its center.
It is geometrically structured in sections of even circles or rectangles through which movement is successive towards a distinguished point – “medallion”.
Parallel to its Roman expression, the Medieval Labyrinth attains a religious and symbolic significance resembling a path towards god which relates to beginning and ending of being [life and death].
During Renaissance Labyrinth’s center disappears – becomes outerly rotten – whilst the being itself stands as a moving figure in an even geometrical structure having gained the control of the whole.
Its’ transcendental nature passes through and beyond history of being, thus forming the intermediate locus of finding or departing from point of views.
According to the old meaning of the Labyrinth, the route is specific. What changes is the motion’s orientation rhythm in space. This rhythm is predestined in the Labyrinths own structure.
Any root’s loss or disorientation or even the probability of choosing any route corresponds to the contemporary.
The modern “maze” is not only a system with no specific route channel but also a structure of errantry. Errantry as a movement of randomness in time – a manoeuvrings of changing routes through the possibility of choice. The wanderer comes towards points of interest which act as pilot to his infinite motion.
In Walter Benjamin’ s thinking everything changes during wandering movement – time –
Notion and memory in such way that the flaneur’s perception is fragmentary formed during experience. In this way, the Labyrinth is nothing but a complicated disorienting web – a multiple space structure in which someone can detect different pathways during time.
In Kafka’ s ‘Das Gebäude” is a representation of inner perceptional world in the Labyrinth’s spatial analogy. Inside these scheme, paths, dead ends, flattened openings, the writer inhabits in continuous motion. Changing positions from space to space, hearing sounds, observing invaders, sensing light or shadow, fixing rotten structures, calming or worrying about the way he inhabits inside he is in an eternal reassigning of purpose.
This project negotiates the meaning of notional Labyrinth. A loop motion takes place inside an abstract spatial analog of the maze. During this movement, perception is altered – related to abstract experience of sound or noise. Camera moves inside the maze model capturing changes of perspective, light and shadow, open paths or dead ends. Time is continuous accelerated or delayed in relation to the observer’s position in space. Delay occurs when sounds evoke thus disorientating the movement. Sound is applied as an abstraction of sense thus simulating involuntary memory to act upon the past.