| Once upon a time, the masters of composition
were likened to skilled packers: their actions were governed by the imperative
of the economical and even filling of the frame with whatever material
was at the disposal. As a depiction of human figure become probably the
first and simplest introduction of an active subject, its thoughts and
intentions made for the first discourse from the "economical rule". What
happened there is what we call an active space, a part of the image
left unoccupied and available for potential action of the subject (physical
and spiritual alike). Where we do not expect action, lays significantly
smaller amount of empty space within frame - this is the passive space.
Example for this is the framing of the human figure on the frame right,
if it is looking towards frame left. What happens, however, if there is
no hero in the frame to rule about what is passive and active? It appears
that the opposite principle works as well: an accent on the empty space activates it.
Let's imagine a film frame starting with such a composition: it is immediately
perceived that something will happen there, and maybe a moment later, somebody
trots in exactly from the expected direction. Now, exploring a bit further,
remember the moment of expectation? - what exactly would happen were nobody
trotted in? O.k., let's just frame this moment and hang it up on the wall,
for this is a glorious clean sample of the active space. If we feel stronger
for the two dimensional, we may refer to it also as an active plane, or
surface. So, what is actually an "activity" measure of the image's surface?
That old primitive tv expression "gimme a bit more room on the top" signifies
truly a bottom level of the passive - where the surface exists only as
an shock absorber to settle and quiet the balance. The activity of image's
surface is the amount of potential events one physically/sensory empty
part of the image can accept, and therefore cause as well. By "event",
we mean either simply material in the future (as in the motion picture
example), or a trajectory of sight and obviously possible action of the
subject. Or - neither of the above, which then means the activation by
the exposure alone, within which space then unfold flows without the material
embodiment nor cause, from perceptual to purely ideal (remember the "synesthetic
level"?). Only in the emptiness the essence can be found (Lao - Tse). The eastern thought openly salutes image which leaves room for above-sensory flows of impression; these being a necessity in every image with the more than just factually informative ambition. One strategic importance of such space inside image is in the keeping of whole impression within the frame - in a continuous contact with its sensory origin. (Which also helps against the degradation in "free interpretations".) After all, this fits the idea of the image as a self-sufficient organic whole, a world of its own. On the other side, keeping of the impression within the image also manages to include the observer, since his experience, materially obviously not present in image, gets promoted into an active part of the composition. Another words, we are the one who finishes the composition. Psychologically concentric, the plane almost drafts us in, where in a sort of light sinking we may contemplate on the image's content - seemingly forever. Also proving the importance of the edge elements which are, obviously, true germs of anything that goes on in the center of plane (all of this is tightly connected to the ideas presented in the "within the frame" chapter; it is a part of every example there). Lastly, something maybe belonging to the top, in the definition of the active surface, should be said. This surface is not something burdened with clumsy meanings and influences, which we either find or not and go home free. It is simply a mean of expression composition has, sometimes subtle, but still - active. While still having this context of thought, let's take a discourse into describing a function of mystical in image. The reason being that the mystical is almost a "night version", unclear and impure, attractive and, most of all, approachable variation of the communicative appeal we attribute to surface. It is easily depicted by something hidden, which we see only a small part of. Unease created by the fear and respect towards the unknown mixes in with the direct invitation for experience, and therefore the creation too, reconstruction of the unseen. What is very similar to the space (surface) is the way we here have "a room for imagination" (although only on the conceptual level). Obviously, in comparison, this is an amusement park version, active and inviting, while "the day version" of surface requires activity on our part (isn't this also somewhat similar to perception of shapes vs. colors?). Widely used as a spice, or vent, or "touch of magic" (or rather literary unknown), the element of mystical has no problem admitting the limitations of the work which cannot include the whole experience within and thus leaves room for the finishing touch of our imagination. |
| active and passive space and plane in the image |
 This is a mild example of activation of the surface by the mere opening towards up right. Considering the simplicity of three elements, this is easy to achieve. The result here ends up as a certain spiritualization of small shapes by the meaning attained through this "activation" - which they share with the (decidedly material) background surface.
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