Complex Mechanics – Urban Essays Series

‘The new city became both micro and macrocosm: imploded yet still monumental, insistent upon its status as total ‘space’…. Nothing ordered this littered and cluttered morass of high and low technologies, this city without top, without bottom, without limits. The only constant was the view that revealed everything in a single glance; a view both panaromic and kaleidoscopic.’
Scott Bukatman: Blade Runner – BFI Film Classics

‘… some precepts of chaos theory … holds that chaotic systems are not random but complex, non-linear systems produced through massively repeated, simple operations. New dimensions lie between the dimensions of traditional mathematics: fractal dimensions. The natural order is distinguished by intricate and infinite fragmentation and by similarities across different scales -fractal forms …. patterns reveal complexity at any magnification, so ‘a fractal is a way of seeing inifinity’.’
–  Scott Bukatman: Blade Runner – BFI Film Classics

 
‘The technology pictures were born from the desire to unveil places in which things of enormous influence on us are being developed while we never physically reach these places. We get in a car, we open the refrigerator’s without ever being aware of the origin of the materials processed in these objects, of the enormous amount of steel for instance that must be produced at facilities like ThyssenKrupp in Duisburg-Bruckhausen.’
Thomas Struth: Composing Pictures

see also: Stellarator Wendelstein 7-X Detail – Max Planck IPP, Greifswald, 2009by Thomas Struth

http://media.blog.leica-camera.com/images/Stellarator-Wendelstein.jpg

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About barryfalk

I am a self-taught photographer based in West Sussex. I photograph ‘Incidental Spaces’, places tucked away and neglected: edges of car parks, junk-filled garages, loading bays, abandoned spaces, vacant rooms, ransacked offices. These are the overlooked details of a city: architectural features which appear to serve no function. My images seek to capture an aspect of the city which is not willingly acknowledged. These places can be read as metaphors for loss and as such are suffused with a disturbed sense of self, what Freud referred to as the unheimliche: the familiar which has become alienated through the process of repression. However, when re-seen, photographed from a particular angle, in a certain light, these incidental spaces turn out to be resonant with association.
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