Week 14 Reading Response
In this week’s reading we explored chapter 5, “Time-images” by Jae Emerling. We read about how images capture time and frame you in state where you are stuck in an exposure temporarily. Emerling emulates this by saying “We are thus always in the midst of images. As such we are put under constraint, momentarily imprisoned, that is, offered a moment to think. Only by responding to this encounter do we truly conceive and receive an image.” (165). Photography is such a different medium in art because photography can be a mode of documentation of archives or it can be completely manipulated as we talked about in the last reading. It is a medium that also gives a lot of authority and ownership to the viewer for various reasons such as the autonomy of a photograph. It is such a medium where one must really delve past the physical subjects and try to find meaning within symbols and composition and make sense or no sense of it at all. Photography can be literal or hidden. Emerling exemplifies this by saying “One that “emerges when sensation can detach itself and gain an autonomy from its creator and its perceiver, when something of the chaos from which it is drawn can breathe and have a life of its own.” A “life that is not natural, pure, autotelic; but only unnatural and impure hence cultural and untimely”” (167). A good set of questions that got me thinking in the text were these proposed by Emerling; “How is the “Perceived space” of a photograph, even a snapshot, not conducive to language, even if it problematizes language by making it stutter? What are the boundaries to this perceived space?” I think space is a concept in photography that has a grey area because there is the space, we view work in, the space where the photograph is taken, was it a made-up composition or was this something the artist came across? There’re so many aspects to explore when analyzing a piece. And then there’s the space in which this photo possible exists on a computer in photoshop etc. there’s many different realms of space in which a piece can exist. Finally, Deluze states that “in its essences, the art superior to life, is not based upon involuntary memory. It is not even based upon imagination and unconscious figures. The signs of art are explained by pure thought as a faculty of the essences.” (183).