The subjective-objective boundary refers to the distinction between perception shaped by an observer’s point of view and a way of seeing that aims to treat objects as universal, equivalent, or independent of a single viewpoint. In the provided context, this boundary is explained through the contrast between linear perspective and axonometric or parallel projection. Linear perspective assumes a fixed, single “eye” and organizes the world into a structure that converges toward a vanishing point, placing the observer at the center. Parallel projection, by contrast, dissolves that center and treats all positions as equivalent, weakening the privilege of a single subjective viewpoint.
Ryu Furusawa’s work Passing is described as destabilizing this boundary through image processing. The work alters the assumption that video records a single instant uniformly across the frame by shifting the temporal reference between the left and right sides of the image. As a result, a perspective-based space gradually transforms into a parallel-projection-like structure. In this process, the supposedly objective organization of space and time, grounded in simultaneity and a single viewpoint, is dismantled, and perception appears as something more fluid and plural.
Within this context, the boundary is not a simple binary between subjectivity and objectivity, but a critical threshold that reveals how visual media organize space and time.