But the concept of the image independent from words is a difficult one. Words and not the pictures
could be frozen in time in terms of written language and were the norm. This time of the photography
was revolutionary. The photograph proceeded immediately to the conflict of war and formal
portraiture. The photograph seemed as a sort of a miracle. For centuries writers have recorded their
intimate thoughts in words, yet these were difficult to bring into an analog reality. The words were all
sort of faith in anchoring meaning within a culture before technology. Words had been difficult task of
locking concepts with the hope that they would spring free from generation to generation. Words were
often used to explain images at first as if the validity of the photograph were in debate. The invention
of in matting light on a chemical base to record only images was profound. From here the rest of the
senses would find a waking.
On the outside of that word the attendant meaning varies within each spectator. In the photographic
image the range of ‘signified’ decreases. There are tactile and visual ingredients now bound up in
blended bits. The receptors for the visual far outweigh even the closest aural receptors. The analog
recording of the visual weigh of words was given lightness by ones and zeros. Visual culture would
reign just by the preponderance of these millions of receptors on the eye alone. The analog
photograph-which was predated by the camera obscura-would impact the word with immensity.
Fear the same, especially in the for a rest of the War dead –the civil war by Matthew Brady; the
photograph existed as analog nostalgia. Brady did not for photograph in the midst of battle, but the
aftermath. The bloated bodies, this turn of human wreckage is there exposed- and the skeletons left
and forgotten. The skeletons for traces that process of light and turns overnight traits that there were
men here before. Matthew Brady him performs at first photographers to understand the medium.
The photograph has been important since its inception. It determines the meaningful through the
second look. As the word was an imperfect invention to anchor space/time the image in analog paper
freed the word from its imperfections. The word creates the ‘absence’ of the thing recorded, though the
analog paper-as flat as it is-is the perfect step toward the digital ones and zeros. The image on paper
gets rid of the contrivance between the word and the concept. The image on paper can be scanned
without the tyranny of line reading at great speeds. The prison of linear meaning is given saccadic
ease through the eye’s movement across the surface much as the preliterate hoards did in the
cathedrals of Europe. It is a natural step from the image on paper to ones and zeros, which take on their
own scanning so that the subject doesn’t have to. In the ones and zeros is the hope for permanence.
One could say this of words yet they are also dependant upon the paper…the vehicle. You could say bits
are dependant upon screens-or are they? The kinesthetic and synesthetic would visit the photograph
are dependant upon screens-or are they? The kinesthetic and synesthetic would visit the photograph
placed on paper soon after it was invented…one could say libraries hold this same kinesthesia yet they
are not like a cathedral.
The camera. When it is mounted on a cell phone it becomes ubiquitous. In the early 1990s we saw how
a city could burn when one ubiquitous video camera recorded a police beating. The witnessing of an
assault on human dignity is read right away. American’s funniest home videos dealt with the concept of
photographic ubiquity and we hung on to those images as they bordered on physical harm of the
subjects. The ‘faces of death’ and snuff films hold an almost Roman spectacle element felt when the
blood stained floor of the coliseum distanced the populace from veritable human dignity and empathy.
Framing of a spectacle is important for the photographers assigning of agency of the subjects and the
viewer. Since the Romans we feel that ‘we should do something’ to stop the suffering of the subjects
within the picture plane. When we watched the tsunami roll lazily in on a bright beach day in Thailand
we were glad we were not there but also amazed that this wave could kill so many on a bright Sunday.
‘Slow humanity’ is something more difficult. The pervasiveness of the digital camera has very quickly
changed not only the capturing of disaster, but the evidence of a ‘slow disaster’. Ricardian economic-
elaborated on by Marx-tells us the wage theory of value that pervasive profit can only come through
labor, or captured markets. One of the most memorable documents for me was a BBC special on Chinese
industrialization of the 1990s. In this film it was evident that the paternalistic Maoism was finally
applied to the coastal factories where about 100 million women peasants went to work. It is here that
the built just about everything for the rest of the world. The ‘sent down girls’ of twenty years earlier
sent their daughters back to the major urban centers. Although the regimen of the factories was
totalitarian by western standards a lot of these women saved some money and went back to their
villages as investors and leaders. All of this happened at the same time Detroit was gutted of its
industrial base.