Addio, teorema

We take a photograph. Or maybe we are still deciding on whether we ought to take the photograph. The subject or event we are in want of photographing, we photograph, or ideate about whether to photograph, because the subject or event we are in want of photographing impinges upon consciousness (sometimes without us paying much…

Read More

Genealogy of ‘the photographic’

Prior to the modern movement in the visual arts, painting was an exercise in incomplete realism. Painters had already disavowed that which would interest Heidegger and that which Heidegger would go on to question. Their painterly exercises in incomplete realism, though, attest to the fact that painters, seemingly not interested in philosophy, had through the…

Read More

If I have been photographed, I am already dead

Reality is a cast; reality is the negative. This is the reason why all our photographs come out looking like positive images. And if reality is the negative, then all our thoughts and dreams now, that we think and dream we thought and dreamt then, are necessarily positive because all we retain from reality is…

Read More

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…

Read More

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.…

Read More

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,…

Read More

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…

Read More

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…

Read More

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…

Read More

Representations – “Humbug, I tell you! humbug!”

Much has been said about the concept of representation in the visual arts. I myself, in previous blog posts (see here and here), have attempted to dissociate photography from the concept of representation having being propelled to do so due to the grossly mistaken view that shadowed my thoughts about representation for a very long…

Read More