Moving images can represent time in an alternative way by adjusting temporal configuration in the editing process. The temporal perspective of the event can be changed in the representation, and thus the moving image provides us with a novel experience of the event. This project is one of the first investigations into Time-lapse images, and specifically inspired by the discipline of cognitive science, to employ Time-lapse as a representational artefact. We believe it is crucial to have a critical review of Time-lapse images in a cognitive framework. As the part of collecting data and making the Time-lapse unfolded, we noticed a lack of epistemological analysis about the altered pace moving images, although these types of moving images are significantly commonplace in scientific and artistic contexts. We found that many of the texts introduce Time-lapse as a technique of photography, a subcategory of stop-motion animation or a cinematographic effect and give mostly anecdotal information to discuss how a particular scene was produced in Time-lapse and what problems arose in the editing part of the production. The creation of a series of Time-lapse has been an essential practical method for our research. The cognitive approaches to representational artefacts have influenced the research process significantly. We intended to investigate the subject while creating the Time-lapse documents of observation, intended for developing theoretical discussions. Of course, the practices take inspiration from the research's underpinnings and academic discussion.

This page presents a series of Time-lapses, made by Samaneh Yasaei alongside the completion of a practice-led PhD research in collaboration with the supervisor, Roberto Casati. By demonstrating the experimental outcome of this research, these works are discussed in the dissertation entitled "The Philosophy of Time-lapse, Expanded Vision and Concise Observation", submitted at Ecole Normale Superieure, Paris.

About the Dissertation

The general subject area of the project is the cognitive advantage of moving images. The focus will be on Time-lapse, a sub-field of moving images, whose structure enables the function of making visible. Discussing the diverse applications of Time-lapse and the cognitive advantages delivered by this representational artefact, we evaluate the epistemic status of these Altered Pace movies as evidentials. In this regard, we construe Time-lapse as a tool for obtaining information about some of the event’s visually unavailable features. In analyzing the epistemic virtues and the possible epistemic deficiencies of this amplification process, we suggest that Time-lapse is a mechanism of producing superstimuli.

The practice-led enquiry is conducted through a practical and theoretical approach to Time-lapse. The research project is divided into three main parts:

1. The data collection of 1000+ annotated Time-lapse sequences elicits the numerous categories of Time-lapse and the various fields of use.
2. The theoretical research is backed by an historical review on the early example of moving images, of a review of theories of representational cognitive artefacts and of educational science videos. We address, among others, questions about the epistemic status of Time-lapse images. We also structure the field of social observation projects, particularly those that analyze a form of collective human behaviours.
3. The thesis is concluded by a practice part, resulting in this portfolio presenting time-lapse films, rooted in the cognitive approach and experimental animation.