#6883 / constructed ~ much ado about nothing

all photos ~ (embiggenable)

A DECADE OR SO AGO I MADE A SERIES OF constructed images / assemblages based upon the concept / question of what is a photograph? The intent was not to find / suggest some kind of universal answer cuz there are so many kinds of photographs with so many kinds of maker’s intent that there can be no simple answer to that question other than to write that a photograph is a picture, i.e. a visual representation of an object, scene, person or abstraction produced on a 2D surface. However ….

…. in an essay on T.O.P.–What Are You Taking a Picture Of?–it has been suggested that if you think you are taking a picture of a subject / what the camera recorded, a moment, the light, reality, you are sadly mistaken ….

“The images in your library are not pictures of people or places or light. They are fossils …. the fossil does not merely remind us of the past. It becomes the past. The photograph stops being a trace of the event and starts being the event itself, the only version that survives. What was once evidence becomes the thing it was evidence of.”

Right from the get-go this essay is problematic; in the first sentence the definition of the word image–a representation of the external form of a person or thing in art–contradicts the remainder of that sentence. That is, if you have images, you have visual representations of an object, scene, person or abstraction, aka: pictures. FULL STOP.

And, I’ve got news for the author, it is the literal visual representation in a picture, aka: the subject as seen in a picture, which is the impetus for 90%* of picture takers for taking a picture; they want to take a picture of what something looks like at a given moment in time. And guess what–those pictures always have a subject (what the camera recorded) which includes the light, color, and other visual elements–most commonly referred to as reality**. Ya know, what mama’s smile looks like, what the Roman fountain looks like, what the colorful autumn scene looks like, etc., etc., etc., ad infinitum.

The value of these pictures is 2-fold; 1) they can illustrate quite convincingly–a reasonable facsimile–what the subject of the picture looked like at the moment of its taking, and, 2) on future viewings they can also remind us of the past / incite memories of the subject, the time, and the place of their taking. However, that written, a warning ….

…. if a picture of a recorded past occurrence “starts being the event itself”, I would suggest seeking immediate mental health support in order to deal with your demonstrably apparent delusional disorder.

*10% might be trying to make art. Both %s are estimates.

**on that topic, if you wanna start dancing on the head of pin, I’m gonna send you to bed without your supper.

what is a photograph # 22 ~ vive la différence?

un assemblage de pièces ~ (embiggenable)

After yesterday's irascibly disputatious screed, I was reminded of my What is a Photograph? body of work which I never completely worked through to a satisfactory conculsion.

There was a considerable period of time-measured in years-during which that question was much on my mind. I read anything and almost everything I could get my eyes on, searching for clues and/or answers to that query. Much of what I read was academic mind-numbing eye-glazing flapdoodle and green paint, very little of which seemed to have been written by people who were experienced in the actual practice of making pictures.

One book I was able to slog through was Susan Sontag's ON PHOTOGRAPHY. Not an easy read by any stretch but somewhat worth the effort. However, I subsequently read her essay, Against Interpretation (you can read it online HERE), which kinda put all matters to rest. If I had read this essay first, I would not have needed to read her book.

To engage in a bit-actually, quite a bit-of reductionvism, Sontag's idea was to simply-but, of course, it's not this simple-to look at art, feel it (the sensory experience of the work) and don't think about it. Don't try to interpret it-using your mind to find its meaning (content), aka: an exercise in hermeneutics-the theory and methodology of interpreatation.

Or, in her words:

"Interpretation is the revenge of the intellect upon art ... In place of hermeneutics we need an erotics of art."

It was Sontag's belief-and mine long before I read her essay-that "To interpret is to impoverish, to deplete the world—in order to set up a shadow world of “meanings."

However, if you think of it in a right brain / left brain kinda manner ... the right brain is more visual and intuitive-imagination, holistic thinking, intuition, arts, rhythm, nonverbal cues, feelings, visualization, daydreaming, whereas the left brain is more verbal, analytical and orderly-logic, sequencing, linear thinking, mathematics, facts, thinking in words, there very well could be a genetic disposition, re: how an individual looks at art.

Without question, viewing art excites / pricks the right side of my brain. I have no doubt there are those whose left side gets all the kicks. And that, I believe, explains why I never got a good answer to my what is a photograph? question ... most of the books / essays and the like I read were written by left-siders. Whereas, Sontag, in her essay Against Interpretation, was most decidedly a right-sider.

Fortunately, thanks to Sontag, I no longer think about what is photography? Rather, I am quite content to just look at pictures and not give a thought to what they might mean.