poetry | photography | philosophy
One knows one has hit rock bottom. Verity of verities, to believe in one’s beliefs is necessarily to fail. One hits rock bottom… and realises that images, understood as copies, are done in imitation of one’s cares, of what one cares… to remember – of what one cares to care about. There is no end…
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Both memory and the act of remembering originate in mindfulness. To be mindful is to have knowledge, but also to take care. A memory is a memory of and to remember is to remember because… Therefore, if memory is equated with knowledge, neigh, if memory is indistinguishable from knowledge, the contents of memory can be…
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Who are you? Marco. What are you? I am… Having to state its case, Dasein would not make recourse to being, or assume being, to explain its being… Who/what are you? (simply) Dasein. Dasein is simultaneously identity and substance. Dasein’s concern with its being is concern about that seemingly non-deferrable concern about seemingly needing to…
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Engaging analogue photography in the world, not in a laboratory, is engaging modelling, specifically statistical modelling. Obviously chemistry and chemical reactions are other ways of engaging analogue photography. The pixel is a generalisation of the silver halide crystal. While digital photography can be – and, seemingly, is mostly – engaged in the world, that world…
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In essence, Art has always been a trace of alterity. But at some point in the nineteenth century there seems to have occurred a very curious development, namely that the painter walked out and in his stead appeared the photography apparatus. With the advent of photography, the Arts were finally introduced to technology and could,…
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knowledge (n.): “early 12c., cnawlece ‘acknowledgment of a superior, honor, worship;’ for first element see know (v.). The second element is obscure, perhaps from Scandinavian and cognate with the -lock ‘action, process,’ found in wedlock” (HARPER 2001-2021). know (v.): “Old English cnawan (class VII strong verb; past tense cneow, past participle cnawen), ‘perceive a thing…
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The photograph is the result of light painting itself. The painting is the action of the hand showing. In the former case, there is no translation involved in beholding the objet d’art: light paints itself on the photographic film/sensor and the result is seen by the eyes which function through the transmission of the same…
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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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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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Digital photography proclaims that the clasp of history has been broken. The word ‘history’ originated from “Greek historia: “a learning or knowing by inquiry; an account of one’s inquiries, history, record, narrative”” (HARPER 2001-2020). Thus, history was originally understood as being both the learning gained through inquiry and the account or record of that inquiry.…
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