Parallel projection is a projection method in which parallel lines remain parallel even as they extend toward infinity, unlike linear perspective, which converges toward a vanishing point. In the provided context, it is described as a spatial logic that does not rely on a single fixed viewpoint. Because it does not produce foreshortening based on distance, the size of objects is preserved regardless of how far they are placed from the viewer. This makes it compatible with a moving viewpoint and with the continuity of time, rather than freezing a scene into a single instant.
The context also frames parallel projection as a way of dismantling the center: instead of organizing the world around an observer’s central eye, it treats all locations as equivalent. This spatial model is associated with East Asian visual traditions such as Chinese landscape painting and Japanese emakimono, as well as with modern technical drawing and CAD. In the discussion of Ryu Furusawa’s work Passing, the transformation from perspective space to parallel projection is simulated through digital processing. A video is stacked into a volumetric time-space, and the angle of the extracted cross-section is rotated, allowing a perspective space with a vanishing point to gradually shift into a vanishing-point-free parallel projection. The context presents this as a reconfiguration of both space and time.