On pain and how to photograph it

Let us start by postulating that pain is staged. Such a postulation would make pain somewhat irreal, a game even. But we know that when we feel pain, we feel its pangs genuinely enough. In experiencing pain, we do not sense anything irreal about it, let alone do we consider that it might all be…

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A Proposition

Perception and semantics are way too obvious and boring; so we will skip those two levels and start our discussion straight from the level of memory. The etymological dictionary gives the following entry for the verb ‘remember’: “mid-14c., remembren, “keep (something or someone) in mind, retain in the memory,” from Old French remembrer “remember, recall,…

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Who was Hecuba’s mother?

Wikipedia tells us that vector graphics are “computer graphics images that are defined in terms of 2D points, which are connected by lines and curves to form polygons and other shapes. Each of these points has a definite position on the x- and y-axis of the work plane and determines the direction of the path; further, each path may have various properties…

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What is a photograph?

The photograph cannot be a record of light, the imprint left by “the chemical response to radiant energy” (ROMER 2005: 1). The photograph is the information we define as light. Romer reminds us that the word ‘photography’ means “writing with light” (Ibid. 1). I would suggest a redefinition of the word ‘photography’, one seemingly asymmetrically…

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A brief history of photography (and painting)

Let us conceptualise in our minds two worlds: a big world and a small world. The small world lies engulfed in the big world. The big world is none other than the world we are embedded in at the moment. The small world, which lies buried deep within the big real world, is somewhat spherical…

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Farewell :-)

Stanley Cavell is quoted as saying: “Photography overcame subjectivity in a way undreamed of by painting, one which does not so much defeat the act of painting as escape it altogether: by automatism, by removing the human agent from the act of reproduction” (in SNYDER and ALLEN 1975: 145).  Yes, yet another trite comment about…

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The Post-Aesthetic Age: where everything is photographic

Photography is inherently not conceptual. A piece of visual work defined as being conceptual is a piece of work that clearly evinces the introduction of text into its machinations, text or any of its derivatives, in any of their multifarious formats. A piece of visual work defined as being conceptual is a textual image. Such…

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At the end of the tunnel there is only you

We see things from the wrong end. This statement has serious implications for all photography lovers. Imagine a big ship, berthed out at sea. You notice the ship at dusk while looking out from your balcony at home. The lights on the ship are on. There is thick fog in the air. You do not…

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Sustainable Prospects – Week 10

Let us take a photograph, any photograph, and look at it. That done, let us now ask ourselves the question: do we see the photographic in the photograph? Clearly, we immediately sense that something is not altogether right in that question; some kind of craft is being practised there; this phantom interrogator, we firmly paranoically…

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