*bheue-

Imagine yourself standing in a room full of diverse objects. You begin to levitate to just a few centimeters above the floor, enough for your toes not to be able to touch the floor anymore. All of a sudden, all your muscles stiffen, and you cannot move at all. Only your eyeballs are now able…

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Imago

Analogue and digital photography both rely on a vital input: light. In analogue photography, the information we call light is analogous to the atomic structure resting on the exposed photographic film.  In digital photography, the information we call light is measured for its intensity in the form of digits and those digits are then assigned…

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Viva

The subjective is subject to the Subject who as Subject stands in subjection to an other, namely the subject. The subjected action of subjection emanating from the subject acts upon me as Subject and subjects me. Intentions are knowable a posteriori. The subject subjected as Subject is hence object to the Other. The object is…

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Everything is in itself

The Other irks perception; perception cannot withstand otherness. The Other is a thorn in the side of perception. The world is first seen. The perturbation, the anomaly, is an Other mindlessly perceived, the Other impinging upon perception. The world is first seen. Everything approaches Dasein from a future; all beings hold a futurity in perception.…

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Andromeda

The photographic is the illusion of depth. Depth conveys to any image the illusion of the real. Depth extends into motion, which are both ultimately conventions that retain their respective dynamics through the simple positioning of body (or image of body) within the more global image we call the world. If this triad, depth, motion,…

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Omega

The filmic is the illusion of the photographic. The filmic actuates the illusion of the photographic through motion. Thus the world is reduced to a static image commonly known as a photograph. Hearing, smelling, tasting and touch are then mental images emanating from other mental images, namely, singularly, the world. Embodiment does not successfully contradict…

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Atomised

It is common knowledge that the relationship analogue photography has with light is different from the relationship digital photography has with light. In the former case, the relationship with light is non-arbitrary; in the latter case, the relationship with light is arbitrary. Can we use this perceived relational difference these two types of photography have…

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To know, or not to know, and to know – the question of evidence

I stand still at the end of an empty street. Looking down the street, I observe the street lamps growing smaller as they recede into the distance. Identical street lamps simply do not grow smaller as they recede into the distance. I merely have to approach each one in turn to verify that indeed they…

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The Lugubrious Game

In my last blog post (click here to read), I made my most concrete attempt to date at defining ‘the photographic’. In that blog post, I argued to the effect that ‘the photographic’ is the simulacrum. Implied emphasis on the use of the definite article preceding the word simulacrum should not be taken lightly, for…

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Defining ‘the photographic’

Vermeer was a painter. He painted photographs. This is to say that ‘the photographic’ has been with us for a very long time, at least since the happy discovery of daubing paint on walls and stuff.  Paintings evince ‘the photographic’; but ‘the photographic’ could have only become known and identified as such with the invention…

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