One paradigm shifts into another. The old is replaced by the new, for better or for worse. This is the slow evolving pace of innovation. We’re at a place in time where silicone abacuses do mathematics at the speed of light, and we can transform our every aspect of life into numbers and graphs. This is happening to photography as well as all other forms of information and communication. Listen closely and you can hear the last dying coughs of analogue media. Apparently cheaper and faster technologies are replacing film at all its uses. Technologies with endless accuracy, but scrupled by the ease of data manipulation. This death of the old gives life to nostalgia in the people romanced by the morphogenic nature of pre-digital process. Obsolescence breeds poetry.
As the new technology protrudes, the substituted older technologies eventually turn into something unusual or unconventional. There is something about the tactility of manual process that keeps it alive for longer than it has to be. The subtle beauty of the organic, the chemical and the imperfect keeps some people emotionally attached because it mirrors life. In this same conflict we can also draw parallels between a whole set of related opposites; the bureaucratic and the liberal is perhaps what first comes to mind.
Non-photography is the place in between the aged and the futuristic. It’s the embracing of the whole of photographic technique and philosophy without discarding any aspect of it, be it dangerous, ridiculous or uncomfortable. Non-photography is a syncretism of the synthetic and the natural. It is a standpoint that refuses to discard in regard to preconceived qualitative hierarchy.
This approach has an inbuilt immunity that is accessible to us, a weapon against the virus of monoculture and the humdrum hegemony in the global free market. If we allow wisdom to waste away through too anxiously becoming blinded by the fantasticated promises of new medias, we are throwing away a precious heritage. New ideas are formed through making new connections in old knowledges. We need to submerge ourselves in the murky fluids of decomposing erudition.
There can be organization in the chaos; an alchemical shamanism bringing forth spectral apparitions through embracing chance and curious experimentation. These eidola can illuminate the shadows of entropy and shed new light on the forgotten. The search for a broader sense of what photographic imagery is, and how it can be used to subjugate the dreary. We are searching for what is threatened by extinction, and we are trying to stop the decay of information that can be connected. We are feeding a polymorphous perversity that can initiate shifts in meanings of what is and what isn’t.
We want to bring back the wonderful world of multiplicity and hybridity – all types of cameras and processes – all mixed up, edgy and alive with new opportunities, a mongrel of exciting possibilities for new image making. This stronger breed creates resistance. If you can’t convince, confuse. We consider the physics of light and pinhole apertures, chemistry and the materiality of substrates. We embrace bad photography; the snapshot, light leaks. And we welcome the liveliness of the messy, of scratches, of dust and mistakes. We apply shock therapy with the electricity of photo-media. But it all starts out with the textures of analogue light.
Each person finds their own way; they pursue a creative line of inquiry to find out for themselves where it leads them. They make decisions on the run to make the whole jumble of processes come together to one distilled vision. The work is largely condensing the noise into coherence, and ensuring that the end result is not a shambles.
As the new technology protrudes, the substituted older technologies eventually turn into something unusual or unconventional. There is something about the tactility of manual process that keeps it alive for longer than it has to be. The subtle beauty of the organic, the chemical and the imperfect keeps some people emotionally attached because it mirrors life. In this same conflict we can also draw parallels between a whole set of related opposites; the bureaucratic and the liberal is perhaps what first comes to mind.
Non-photography is the place in between the aged and the futuristic. It’s the embracing of the whole of photographic technique and philosophy without discarding any aspect of it, be it dangerous, ridiculous or uncomfortable. Non-photography is a syncretism of the synthetic and the natural. It is a standpoint that refuses to discard in regard to preconceived qualitative hierarchy.
This approach has an inbuilt immunity that is accessible to us, a weapon against the virus of monoculture and the humdrum hegemony in the global free market. If we allow wisdom to waste away through too anxiously becoming blinded by the fantasticated promises of new medias, we are throwing away a precious heritage. New ideas are formed through making new connections in old knowledges. We need to submerge ourselves in the murky fluids of decomposing erudition.
There can be organization in the chaos; an alchemical shamanism bringing forth spectral apparitions through embracing chance and curious experimentation. These eidola can illuminate the shadows of entropy and shed new light on the forgotten. The search for a broader sense of what photographic imagery is, and how it can be used to subjugate the dreary. We are searching for what is threatened by extinction, and we are trying to stop the decay of information that can be connected. We are feeding a polymorphous perversity that can initiate shifts in meanings of what is and what isn’t.
We want to bring back the wonderful world of multiplicity and hybridity – all types of cameras and processes – all mixed up, edgy and alive with new opportunities, a mongrel of exciting possibilities for new image making. This stronger breed creates resistance. If you can’t convince, confuse. We consider the physics of light and pinhole apertures, chemistry and the materiality of substrates. We embrace bad photography; the snapshot, light leaks. And we welcome the liveliness of the messy, of scratches, of dust and mistakes. We apply shock therapy with the electricity of photo-media. But it all starts out with the textures of analogue light.
Each person finds their own way; they pursue a creative line of inquiry to find out for themselves where it leads them. They make decisions on the run to make the whole jumble of processes come together to one distilled vision. The work is largely condensing the noise into coherence, and ensuring that the end result is not a shambles.
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