And only under light space becomes.
In the fixation of the photograph time is abolished as if there is
only one moment.
Photographs seduce, as we are deceived into believing that the abolition of time is also the abolition of death. The apparatus can only try to capture his subject in a physical phenomenon but it shows itself unpredictable due to its congenital reciprocity failure. It is as if time refuses to be measured.
Long exposure photographs never fail to seduce us, they reveal what our eyes can not see. Streaks of light and ghostly appearances seemingly unfold chaos and yet, we know that every litle line, every patch of colour is there due to a cause; the table has been moved a few times and every position is recorded.
Our eyes are designed to discern movement by operating fast movements, snapping from location to location, capturing a selection of stills. This movement is powerful, ballistic, so strong that the eye often overshoots its target. It is a scientific fact that any image perfectly stabilized on the retina, vanishes.
Our eyes cannot see stationary objects and must tremble constantly to bring them into view.
The eye does not capture truth but rather the brain constructs believable scenarios that provide the necessary stability for life to exist. Perceptions blend with preceding perceptions, imaginary visions collapse into memories.
In photography the circle of confusion relates to the finite ability of the eye to resolve detail.
Human vision has a limited ‘resolution’, beyond which we are unable to differentiate. Only one percent of what we see in is focus, which leaves most of our vision in the periphery, leaving the environment that surrounds us unfocused. The perception of reality is shrouded in confusion. We can say that even in our sharpest sensitive tools that we are intended as a metaphor to an inner state, an interior way of being in the world.
Collage of excerpts from "The Production of Architecture in the Optical Space", by Ruben Alonso, 2013, freely recomposed and slightly rewritten.
Photographs seduce, as we are deceived into believing that the abolition of time is also the abolition of death. The apparatus can only try to capture his subject in a physical phenomenon but it shows itself unpredictable due to its congenital reciprocity failure. It is as if time refuses to be measured.
Long exposure photographs never fail to seduce us, they reveal what our eyes can not see. Streaks of light and ghostly appearances seemingly unfold chaos and yet, we know that every litle line, every patch of colour is there due to a cause; the table has been moved a few times and every position is recorded.
Our eyes are designed to discern movement by operating fast movements, snapping from location to location, capturing a selection of stills. This movement is powerful, ballistic, so strong that the eye often overshoots its target. It is a scientific fact that any image perfectly stabilized on the retina, vanishes.
Our eyes cannot see stationary objects and must tremble constantly to bring them into view.
The eye does not capture truth but rather the brain constructs believable scenarios that provide the necessary stability for life to exist. Perceptions blend with preceding perceptions, imaginary visions collapse into memories.
In photography the circle of confusion relates to the finite ability of the eye to resolve detail.
Human vision has a limited ‘resolution’, beyond which we are unable to differentiate. Only one percent of what we see in is focus, which leaves most of our vision in the periphery, leaving the environment that surrounds us unfocused. The perception of reality is shrouded in confusion. We can say that even in our sharpest sensitive tools that we are intended as a metaphor to an inner state, an interior way of being in the world.
Collage of excerpts from "The Production of Architecture in the Optical Space", by Ruben Alonso, 2013, freely recomposed and slightly rewritten.
