Architectures of image or notion of image and interval in video medium

This study aims to investigate the reflections of the notions of image and interval in the video environment and the new subject-object relations that are formed, and to search for the conditions for the realization of image architectures as a thinking production within the framework of the notions of image and interval, which are carried to the field of architecture with an interdisciplinary conceptual reading. Throughout the history of philosophy, the relationship of the image with reality has been established through analogy, and the image has been understood as a mental copy of what exists in the external world. However, Henri Bergson (1859-1941) did not limit the image to the representation of things (view), but rather conceived of it as a "holistic ontological foundation" in the same sense as the existence of matter. Bergson described images as having an infinite and decentralized, chaotic effect and response on each other, a fluid and dynamic movement-image universe. As a part of the material world, the temporal "interval" that occurs when the living image delays its reaction to the effects by activating a selection mechanism is the moment where the virtual becomes actual and the place where the subject positions are constructed, is "space". On the other hand, video technologies, on the other hand, work on the same principle as "living image", which is a part of the universe of images, and they create an "interval" by adding uncertainty and selection time to unlimited image flows. Thanks to this interval, the relationship between signifying flows (images) and asignifying flows (waves) can now be organized mechanically, and the flowing images are carried into the future as crystal-images. This retention process of video technologies increases the power and capacity of the living image to act, and presents the crystal-images, the image of time, to the subject's view by repeatedly bringing them to the present. Thanks to video recording technologies, the image-in-itself included in the virtual-actual circuit of the living image is re-created each time and, along with this, new subject positions are constructed. Dziga Vertov obtained the contemporary videographic images, the time-image, through cinema at the beginning of the 20th century. The idea of the "theory of intervals" and "montage" at the center of Vertov's cinema is based on the idea that cinema is built on the relationship between two movements rather than the movements themselves. According to Vertov, the interval is the measure of the proximity between two seemingly distant and unrelated things; the relationship between movement, image, or thought. Montage of Interval is the production of meaning by conquering spatial and temporal distances and fitting unrelated parts together poetically. With his montage technique, perception is taken from the subject and transferred to things, so that perception is no longer a passive property of matter. As a result, the film becomes a "thinking production", reassembled in intervals by each observer subject. The Bergsonian living image participates in the production of the film with creative activity and has the ability to actualize the internal time, and unpredictable virtual potentials in the intervals created in an external and mechanical environment; thereby constructing new subject positions, "existences" and "embodiments" or "spaces". As part of the universe of flowing images, any activity of the subject is production in which it enters into a productive, creative relationship with the given, and with this thinking production, the subject shapes its environment while constantly reconstructing itself. Architectures as thinking production, have the potential to realize a shared authority of the architect and user subjects on the architectural object, and the user subject can participate in the production of architecture with creative activity and all its qualitative differences. While the subject constantly reconstructs itself in the simultaneous virtual-actual circuit of the interval that divides it in half at every moment, creation of any kind also takes place in the same place, "in the interval". It is precisely for this reason that when the user subject is included in the virtual-actual circuit of production processes, unforeseen possibilities are incorporated into the space, making every individual experience and production unique and new. This kind of thought rejects the static field of representation regimes and is based on the principle of the dynamic substrate of the constant production of the real. As a result, the unpredictable chaotic image flow universe is constantly open to other formations through the unexpected differences produced by thinking production. At the same time, the immanent movement of multiplicity, the time-image, takes the place of the transcendental and integrative image regimes. In this thesis, the nature of the notion of image is first discussed from ancient Greece to the present day, and then Henri Bergson's theory of image production, which brings a completely new perspective to the notion of image, is outlined through the concepts of movement-image, living image, and interval. The reflections of this in the video environment are investigated. In the following section, Bergson's concept of interval is correlated with Dziga Vertov's theory of intervals and montage technique. In the last section, the notions of image and interval are transferred to the field of architecture, and the conditions for architectures of image to be a thinking production are researched by using Jonathan Hill's book "Actions of Architecture: Architects and Creative Users" (2003). In this process, the relationships between architectures and the users in 20th- century architecture have been examined, and a creative user has been sought as a situation in which the architect and user share authority over the architectural object. The relationship between architectures and users is examined in three categories, based on Hill's classification: "functionalism and passive user", "flexibility and reactive user", and "montage of intervals and creative user".