Note : the slight dismay this (highly photographic) year, to find I have no single bright picture to make into a card for the 2013 New Year wishes.
Images have become less important, for one. But there's a discomfort certainly in finding that the result of defocusing on the image does (un)consist in having nothing in the eye.
And the "scene" moment, less familiar now. Possibly a Brooklyn, 2006 experience then? Dependent on the quality of light (luminotherapy a year in New York, for sure), but dependent on a peculiar configuration of desire or hunger too - the lengthening perspective seems to teach this. A novel view on. Consider this. Being here, knitting myself into a present I suppose (although the narrative flattens the complexity of the period - which promises more riches in understanding, long mulling over and revolving the lights of) : and then, the curiosity of taking the "here" on its necessary course. Curiouser.
There's still the renfrogné feel of the Canon, and the tough negotiation with the whole subject/image programme. Not exactly caught in this (noticeable when reading the several, cumulative voices in Witness in Our Time, Ken Light, for ex., where I find myself with a measure of freedom from and puzzlement in the trope, how it shoud be so ingrained). But photography for, rather than about. "I want to see" : knit myself in the "world", find "how it is" that there is no "in", understand understand know know know.
Clear index with the amount of text ici-même.
Images have become less important, for one. But there's a discomfort certainly in finding that the result of defocusing on the image does (un)consist in having nothing in the eye.
And the "scene" moment, less familiar now. Possibly a Brooklyn, 2006 experience then? Dependent on the quality of light (luminotherapy a year in New York, for sure), but dependent on a peculiar configuration of desire or hunger too - the lengthening perspective seems to teach this. A novel view on. Consider this. Being here, knitting myself into a present I suppose (although the narrative flattens the complexity of the period - which promises more riches in understanding, long mulling over and revolving the lights of) : and then, the curiosity of taking the "here" on its necessary course. Curiouser.
There's still the renfrogné feel of the Canon, and the tough negotiation with the whole subject/image programme. Not exactly caught in this (noticeable when reading the several, cumulative voices in Witness in Our Time, Ken Light, for ex., where I find myself with a measure of freedom from and puzzlement in the trope, how it shoud be so ingrained). But photography for, rather than about. "I want to see" : knit myself in the "world", find "how it is" that there is no "in", understand understand know know know.
Clear index with the amount of text ici-même.
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