versions of liquidity
“fluids, so to speak, neither fix space nor bind time” - p.2 Liquid ModernityLiquid m0d iI
Fuji GFX50sII, 2s Shutter Speed
After the last project I was intrigued to replicate it with a better camera, I think this work has to be large scale in order to maintain its abstraction.
I experimented with different lighting as well as clothing for a smoother movement in the long exposure.
The result intrigues me because there is a very apparent friction - perhaps they should be separated into series of their own - the very mythological, human side and its seemingly computer generated counterpart. I haven’t decided whether I like it or not.
PETRIFIED PHOTOGRAPHY
“… smeared itself across a limitless grid of points, neutering the axis of time while emboldening the axes of space.”
Reading this chapter allowed for a different perspective of past work.
Re-examining Liquid M0d under a non Chronophotographic light (“a series of discrete photographic impressions segmented across time”) allowed for the opening of a different dialogue. If one were to capture a multiplicity of angles to create a sort of Photosculpture (“discrete photographic impressions segmented in a spindle of space”), one would be abiding by the computer vision, accepting that “there is no point of view because here are all of them”. However, if maintaining the capacity to move on an x y z axis (three-dimensional) yet choosing to maintain a singular static slice of that time and let the remainder be a moving body petrified in its abstraction, one would be achieving a sort of compromise between our singular perspective and the ability to gaze into a complete dimensional existence “Because of the law of continuity, it is not necessary to have an indefinite number of silhouettes …”. In this way, one would maintain the photographer’s perceptual scrutiny whilst simultaneously allowing for shifting existences.