tag:blogger.com,1999:blog-1438289051411770399.post2043709604917629444..comments2024-03-25T08:59:38.714-06:00Comments on ECOLOGY WITHOUT NATURE: David Reid on Bogost VideoTimothy Mortonhttp://www.blogger.com/profile/05067377804366363020noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-1438289051411770399.post-47578172007542486112011-09-17T16:36:39.724-05:002011-09-17T16:36:39.724-05:00Yes, a most interesting video. While my photograph...Yes, a most interesting video. While my photographs are certainly VERY different from Winogrand's, I'm certainly interested in <b>how things look in photographs</b>. The photographs surprise. Some of the best are a complete surprise in that I don't even remember taking them. How to realize them (digitally) is sometimes routine, for I've got a standard routine that's the starting point for almost all my photos. But not always. Sometimes I've got to work hard to recover a photograph. <br /><br />The realization is an act of construction, constructing an image starting from bits captured by the camera, which, I suspect, is rather different from constructing an image from traces left in a chemical emulsion. What then is the relationship between the realized photo and the originating scene? Given that one can create any number of realizations from the same pile of bits, and astonishingly easy to do so, one might be tempted to say that, however one realizes the bits, the bit pile is always and ever withdrawing from the photographer. But if we say that, what then of the originating scene? What of it's withdrawal. Has that been obliterated, replaced, by the pile of bits?<br /><br />Is that a choice the photographer can make, to respect a connection between the originating scene and the realized photo or to obliterate that connection in favor of the pile of bits? If that IS a choice, how is it made? How does one know that one is, indeed, making that choice? What are the ethics of that choice? The aesthetics?Bill Benzonhttps://www.blogger.com/profile/08360044945265178991noreply@blogger.comtag:blogger.com,1999:blog-1438289051411770399.post-41860160801749574642011-09-16T14:15:53.432-05:002011-09-16T14:15:53.432-05:00Too right - count me in. Fried will have to come t...Too right - count me in. Fried will have to come too, but kicking and screaming his way out of High Modernism.<br /><br />Thank you David for the very kind words.Robert Jacksonhttps://www.blogger.com/profile/13714433087186290937noreply@blogger.comtag:blogger.com,1999:blog-1438289051411770399.post-2592600845168897972011-09-16T12:27:39.644-05:002011-09-16T12:27:39.644-05:00I think David's right, well I would wouldn'...I think David's right, well I would wouldn't I! Would be great to try and bring this concern with thinking about and practising object-oriented photography together. David's started the ball rolling with his recent conference in Nottingham. Maybe we need some sort of 'publication' - not another wordy journal but some sort of image(in)ings object. Happy to co-ordinate interest via @internationalethe Internationalehttps://www.blogger.com/profile/08334949989064093332noreply@blogger.com