We are more comfortable in the knowledge that we cannot know what is empirically true and apply this new understanding, tacitly, to photography.
We are more comfortable in the knowledge that we cannot know what is empirically true and apply this new understanding, tacitly, to photography.Tags: Online Homework TutorNewspaper Association Of America ResearchData Paper Research ScrubbingDemographics EssayComputer Science Degree CourseworkHow To Ask Critical Thinking Questions
To me this seems a conceptually much shorter space of time than the distance between World War II and man landing on the Moon.
If you look at the photographs of Nan Goldin, in particular Misty and Jimmy Paulette in a Taxi, NYC (1991) you will see a picture that features the faces and attitudes of people you might know and see now.
Perhaps another way of looking at this is to imagine holding a print in your hands.
To a pre-modernist the total value of the image is found within the borders and in the scene or events shown.
The marginal visible details may be a little dated but, essentially, the vernacular of this image speaks of the modern era.
You may feel a slight sense of nostalgia but one feels that the picture more or less represents the time we live in. The top search return is ‘Berlin pictures show the red Army rampaging through German capital’.For example look at the famous Eisenstaedt shot of the sailor ’embracing’ a nurse.Examine, not the couple, but all that is going on around them.The photographs I am showing this month are from a growing body of work on the way we interact with culture.I think these images are pertinent to the article because they show people engaging with artworks and monuments that span time.It is the exchange of energy here that excites me – how can the work of a human hand millennia in the past still speak so clearly to people of today?Have you ever wondered about strange anomalies of time?Where all other representations of life were made by the interpretive human hand and eye here was a device that couldn’t but tell the truth.Since the explosion of digital photography and the ensuing democracy of camera-phones we have unconsciously adjusted our relationship with the photographic image.There is also an acceptance of the truth of the image.By contrast a post-modernist will hold that same print and will wonder at what happened beyond the frame – a necessary response in order to make full, contextual sense of the scene as depicted in the ‘live image area’.