KLEINGEDRUCKTES IN VOLLER GRÖSSE // SMALL PRINT IN CAPITAL LETTERS
After occupying myself intensively with the different phenomena of visual perception, I came across the interesting fact, that we, in our everyday life not only see and percept things but often overlook and miss them. Because of the huge mass of information we are exposed nowadays, we have to select the relevant information, to not overload our brain. The rest does not even reach the conscious perception area. We have to focus our advertence on determined things/entities. To show the human attitude of seeing better, as a representative content I chose the “small printed”, which is a good example for important information that is no more attended. With a book, I try to bring close concrete contents in a typographical way to the viewer. Big and Small, colored and uncolored, conspicuous and inconspicuous alternate, amplify each other and often express more than the viewer expects. More than about perception, my opera is about the re-learning of seeing and the change of perspective (regarding the perception) to manage it to block and to supplant the passive watching of the humans. Our view for the essential things, which do not only come across in the large-scale, but more often in the small printed texts, nowadays is more precious than ever before.
After occupying myself intensively with the different phenomena of visual perception, I came across the interesting fact, that we, in our everyday life not only see and percept things but often overlook and miss them. Because of the huge mass of information we are exposed nowadays, we have to select the relevant information, to not overload our brain. The rest does not even reach the conscious perception area. We have to focus our advertence on determined things/entities. To show the human attitude of seeing better, as a representative content I chose the “small printed”, which is a good example for important information that is no more attended. With a book, I try to bring close concrete contents in a typographical way to the viewer. Big and Small, colored and uncolored, conspicuous and inconspicuous alternate, amplify each other and often express more than the viewer expects. More than about perception, my opera is about the re-learning of seeing and the change of perspective (regarding the perception) to manage it to block and to supplant the passive watching of the humans. Our view for the essential things, which do not only come across in the large-scale, but more often in the small printed texts, nowadays is more precious than ever before.
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