Post -764 by Gautam Shah
An edge is the extreme position one can take, after that there is some opportunity to recede, or tumble down a presumptuous precipice. Dictionaries define the edge, as the outside limit of an object, area or surface. The edge is a real, but could be notional, hypothetical or mythical distinction. The edge is where some change is perceived, and so deviation is experienced. The edge is sharp or blurred, by the degree of contrast across the sides.
Edges relate to sensory perception, which occur due to the limited range of our sensory capacities, which cause aberrations. The distortions in perceiving the edges are primarily the product of distance, which affect the scale and spread (space) and persistence (time). The distortions in perceiving the edges are secondarily, due to the experiences. The edges are sensorial aberrations, but one can use tools to enhance the perception, like spectacles, telescopes, microscopes, hearing aids, amplifiers, etc.
The edge in the sea is a horizon, which, in spite of the ‘closing in of the distance’, seems non-changing. It is the meeting edge of the earth and the sky, a reliable line for determining the latitude and longitude. A horizon is fairly diffused in twilight (dawn and dusk time).
There great many natural elements that are experienced as ‘distant edges’, which on close encounters are lost. Such change-lines include contours in terrains, visual variations of illumination, colour or texture.
An edge is also a temporal actuality, as a presumption of a period and to some extent a range of acceleration-deceleration. The edge in time occurs as targets and limits. These are like hunger, tiredness, work and reach capacities, physical survival, change in postures, and also in the form of remarkable events like death, birth, marriage, rewards, etc. The performance crafts are expressions bound by time, which may be for the content, impact and remembrance. The timed edges are actuated by the multi-sensorial effects, transition or negotiating period between the changes and considerations for bounce-back or mirroring. Edges in time are used for intensifying as much as diffusing the scale.
The spatial as well as temporal boundaries in performing arts have been consistently transgressed. Many means are employed to surmount the time boundaries, such as some motifs, are directional, patterns are progressive or regressive, scenes or compositions are sequential and exposures are conditional. Edges in performing arts relate to the climax of sensorial perception at which diminuendo is realized. In this sense, the edge is a personal experience and not a universal definition.
Spaces have diffused edges, also due to limits of sensorial capacities and ambiguities of perception. Edges are affected due to convergence of several environmental domains. The ‘diffused edges’ conceal variations like depth, surface orientation, materials and variations in illumination.
Edges, of physical nature, however small, offer, either, a rebound or transmission through. The reactions from the edges, like an echo, reverberation or absorption, are rarely exploited except in re-recording and editing. Dialogue delivery, singing, some dance steps and in real entities like night clubs, children play parks, or virtual environments like video games and digital presentations include some rebound or reflection effects, through lingering traces of the original.
In Graphics, the edges are recognized, where brightness (so the colour spectrum) changes, sharply or definitively. CAD and such other graphics’ tools fail to recognize the ‘open-ended fields’. Graphical edges need to close a boundary which forms a field and a define a surface. A similar problem of ‘a discontinuous edge’ in one-dimensional signals (break in time), is known as step or change detection. Edge detection is a basic requirement, for image manipulation, intelligent perception and feature detection-extraction.
‘The edges extracted from a two-dimensional image of a three-dimensional scene can be classified as either viewpoint dependent or viewpoint independent. A viewpoint independent edge typically reflects inherent properties of the three-dimensional objects, such as surface markings and surface shape. A viewpoint dependent edge may change as the viewpoint changes, and typically reflect the geometry of the scene, such as objects occluding one-another’.
Edges and Corners are synonymous, because corners have edges. Cornering someone is equal to pushing someone from the edge into ignominy. Edges, if nearby can be sharp or, are blurred. The edges on Cucoloris (masks on stage or film lights) are made rugged for soft illumination and smooth for harsh lighting.
Edges can be diffused by blurring the boundaries, reducing the contrast between the foreground and background, by including objects of sharper edge definitions, ‘de-flattening’ the overall tonality, masking or camouflage with other objects or effects. Edges can be accentuated by using marking or highlighters at the edges, colour or textural contrast, reducing the depth differences between objects in the scene, and by addition of familiar objects or narratives with clearer details.
An edge is nominally a spatial phenomenon, definitive like a territory or ambiguous like an environment. Photographers and graphic designers frame a scene, which is defining an edge. The frame could be a physical outline or just white space providing additional spread.
Artworks are bound by the edges of the media. These are usually finite edges, but in large natural scapes these could be infinite in extent. Physical media, restrict the work, but pose challenges to overcome. Artworks like sculptures or crafts-wares are completely free of edging confines. Though, for such entities, whatever is to be represented, is intrinsically well managed in terms of scaling or proportioning. Sculptures (free-standing, not designed to be attached to any entity), if created from a pre-existing single material object, do have restricted size, compared with the assembled objects, like the architecture.
Accommodating an art expression within the confines of media, has been a challenge of managing what and how, the spatial content (even if, abstract) is accommodated. The artwork contents are likely to include, directional indicators, like eyesight, arrows, sequenced patterns, the source of illumination, air flow, vanishing perspectives or moving objects, all these need fore-space before the edge. It requires great talent to transgress the edge, if not physically at least deceptively. Edges are dissolved by means like symbols, metaphors, indicators (directions, rhythm, sequencing), etc. Scaling is a comparative statement, and requires distancing for its conduction. Perspective helped inclusion of set of things into the extent of the media. Capriccio art, based on mathematical perspective taught the content management in art, and creation of pseudo architecture of visual effects.
Architecture is essentially a set of edges or bounding elements, which distinguish it, from the vast exterior world. But architecture, cannot survive as a cocoon. It needs to break in-out of the containment with not just entry-exit nodes, but variety of means for environmental exchanges. Architectural entities, in spite of all the broken or compromised edges, reflect, composite totality, if not singular monumentality.
Architectural edges are of many classes. Namely these are, the barriers that form the built space, ingressed or transgressed boundaries, extents forming a participatory arena and sensorially perceived fields. Edges also occur as domain markers, such as cultural, political, reach of means of transportation, supplies, disposal, etc. Architectural edges are some form of containment, so finite. The formatted space controls, obligation, compulsion, awe, physical enforcement, a field of action, reach, a range of sanctimony and use of physical energy. Within such containment few elements have mutual relationships or dependence, which, cannot be dissolved or ignored. So edges or containment arouses a desire to surmount it.
Spaces are perceived, in two manners, the Bounding elements and Positions of objects. Tall edges, proportionately reduce the distance aspect of the space. In cities tall buildings, reduce the perceptive size of the spaces.