//Learning to Look

"A language like English has a set of rules about how to express and interpret meaning, and so, for instance, do the systems of representation of painting, photography, cinema or television." (Page 12)

There are inherent limits of the English language that diminish as we approach a more visual interchange. Words are the root of all evil in communication and are a great hindrance to efficient dissemination of intent. An individual concept or expression is granted better fidelity when the medium is without these roadblocks. The convention that often applies to the more accessible forms of art can even be broken down so as to catch the viewer off-guard and further their journey into raw and unfiltered experience.

"Over time, images have been used to represent, make meaning of, and convey various sentiments about nature, society and culture as well as to represent imaginary worlds and abstract concepts." (Page 13)

As the previous statement outlines, when words no longer suffice, there is visual expression. To say that I saw a "great hand in which the entire cosmos resided," we leave much for the listener's mind to infer or falsely interpret from the impreciseness of such a statement. Conversely, a painting of this same subject done by the speaker who has complete control (save restraints of the medium) and exact image in mind will much more successfully and accurately represent their goal. The image is a more perfectly represented whole, and is quite literally, our only adequate translation of ideas between people. Even so, much of the symbolism, intended or not, emerges to the trained eye and risks a degree of pollution of the intended message.

"No matter what social role and image plays, the creation of an image through a camera lens always involves some degree of subjective choice through selection, framing, and personalization." (Page 16)

As a photographer, I understand this point of view very well. When composing a photo, there are an infinite number of opportunities to omit or include subjects and details around the edge of the frame that can just as easily effect the message as the element which resides directly in the center of the frame. To illustrate, perhaps we have a photo of a bomb having gone off on an empty road – we see conflict, perhaps anger. If we pull back a few steps or use a wider lens, we might find that there are dozens of people fleeing the scene, some with battle wounds – now we see the horrifying reality of the situation. The situations in which this valuable branch of photography comes into play are innumerable, as are the emotional charges that can result from the use or misuse of the technique.

Her Space Holiday - Meet the Pressure [Blockhead Version]