Reflection: Projections

As I mentioned in my last post, I have been exploring the impact of time on my initial impulses of my notations.

The two examples I referred to I also set up the camera to record the evolution of the image (like a time-lapse). Time-lapse itself is now a technique used to speed up time to demonstrate the changes of a subject or event. What I see being primarily interested in the still image, is how this sequencing is how we select/deselect images. Likewise how we remember certain memories and disregard others.

In this period of selection, retention, curation we are simplifying the process to make it manageable for the viewers predicted attention span. When focused on the contained image projection (in the example above), in my case selection would be reduced down to aesthetic preference.

In the second sequence it could be said that there is an image (the white concrete wall) within another image (or its surroundings). In this we see a second period of motion that shows the limitation whether in modernist thought (the image itself) and also postmodern thought (generally what surrounds the image), that “…no single photograph is actually decisive” (Flusser, 1983/2000, p.39).

While advertising is much more wasteful, it is also fluid and chameleonic. It understands that the photograph is valuable for as long as its denotations and connotations are to be believed. Therefore it avoids the burden of representation because as Douglas Crimp says ‘it is always deferred.” I’d argue that the value of photography is not to be fossilised, which as Susan Sontag points out "it is now the destiny of many photographic troves to be exhibited and preserved in museum-like institutions." (Sontag, 2003, p.77), but to be experienced, and continually practiced. Something I am finding with my shadowgram idea is that it is through continual practice both the desire to engage and the limitations of photography are continually present.

And so like any exercise it is essential to know the rules of engagement, while showing an awareness to the limitations of its containment, much like advertising, that the rules only work so long as the participant believes in the game.


References

Crimp, D (1993) On the Museums Ruins. Massachusetts: MIT Press.

Flusser, V (1983/2000) Towards a Philosophy of Photography. London: Reaktion.

Sontag, S (2003) Regarding the Pain of Others. London: Penguin.