The second thing that struck me is the capture of immediate experience. Certainly the shots of pure light, free of any objects, give the sense of pure sensory perception: not perception of something, but just the feeling of perceiving, the raw, undifferentiated sense. But even other shots—shots of blurred or skewed objects; shots of a sign in the darkness; shots of flowing water, both from above it and from within it—capture the feeling of just being there. They evoke those moments when one is just drifting in the feeling of one’s surroundings, acutely aware of the sights and sounds rather than viewing them in terms of their constituent objects, with their objective uses and definitions. And repeated shots of a woman opening her eyes directly link the images to the idea of the perception of them.
The second thing that struck me is the capture of immediate experience. Certainly the shots of pure light, free of any objects, give the sense of pure sensory perception: not perception of something, but just the feeling of perceiving, the raw, undifferentiated sense. But even other shots—shots of blurred or skewed objects; shots of a sign in the darkness; shots of flowing water, both from above it and from within it—capture the feeling of just being there. They evoke those moments when one is just drifting in the feeling of one’s surroundings, acutely aware of the sights and sounds rather than viewing them in terms of their constituent objects, with their objective uses and definitions. And repeated shots of a woman opening her eyes directly link the images to the idea of the perception of them.
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