| 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". In the simplest form, that old request to the TV cameraman "gimme a bit more room on the top" signifies a bottom level of the passive – where the surface exists only as an shock absorber to settle and quiet the balance. At some point it became clear that a frame should leave room for potentional action of the subject (physical and spiritual alike: a lot of that "room at the top" might mean either that they will stand up – or that they are thinking and dreaming and requre extra space above their head). What happened there is what we call an active space. 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 in the active part, and maybe a moment later,our suspense is rewarded by, say, someone walking into the space previously suggested (activated). Now, back to the moment of expectation - what exactly would happen if no action occured? What if we are talking about a still frame from this movie, essentially a photograph, where we don't expect a change? Active space is not just there for the expectation of the future: it has a formidable function in the present moment, by opening a space inviting flows of thought about the image to unfold, 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 this above-sensory flow of impression. 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. Our thoughts and interpretation of an image stay within the image itself. This not only treats the image as a world of its own, but the reserved space also manages to include the observer, since his experience gets promoted into an active part of the composition. Psychologically concentric, the plane pulls us in, where we may contemplate on the image's content - seemingly forever. Also proving the importance of the edge elements which are, obviously, true initiating ponts of what that goes on in the center of plane (this is connected to the ideas presented in the "within the frame" chapter; it is a part of every example there). Within this context of thought, let's take a discourse into describing a function of mystical in image. The reason being that the mystical is at the same time similar and opposite, it is almost a "night version", unclear and impure, attractive, but approachable variation of the communicative appeal we attribute to the empty active 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 creation, reconstruction of the unseen. What is very similar to the space (surface) is the way we here have "a room for imagination". However, in comparison, this is an amusement park version, active and inviting, while "the daytime version" of surface requires a more sober activity on our part. Widely used as a spice, or vent, or even when the author is at loss how to complete the thought, the element of mystical has no problem admitting the limitations of the work which cannot include the whole experience within itself and thus hands over the hot potato to 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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