The Image World

mona+lisa+frameOn this really inspirational keynote lecture by Jonathan Clarkson we looked at “The Image World”. How does the word of images interact with one and another? The consumption of the world as an image and its perceptions.

We looked at the Mona Lisa as an image because it’s so famous. However, these ideas are not only conceived to painting, but it applies into much wider fields. A particular problem is that for centuries, if you wanted to see a particular piece of work, you had to travel to see that piece of work, you had to travel to places as a piece of work has an aura according to Walter Benjamin (The Work of Art in the Age of Mechanical Reproduction, 1936).

It requires resources, money, time, effort. Does it create disappoint ment? Unexpected expected. Instead, we have images. But, its an image not an object? The ways we respond to images we act as if there is no difference.

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The image is of the painting, but the image is not the painting. The image is whatever can be translated from one medium to another. And its this notion of transbillity that is the key here. With a photograph a certain number of qualities cant be translated from a painting to a digital format, texture, size, colour. The translations of an image are varied, you can draw, paint, photograph, model or even write about.

“She is older than the rocks among which she sits; Like the vampire,
She has been dead many times,
And learned the secrets of the grave;And has been a diver in deep seas,
And keeps their fallen day about her;
And trafficked for strange webs with Eastern merchants:
And, as Leda,
Was the mother of Helen of Troy,
And, as Saint Anne,
The mother of Mary;
And all this has been to her but as the sound of lyres and flutes, And lives
Only in the delicacy
With which it has moulded the changing lineaments,
And tinged the eyelids and hands.”
– Walter Pater

Which is the true image?

Lighting, angle, perspective are all key factors that change our notions of the true image.

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A digital image is the performance of a text. Different people and different technologies have different have intrepretation and perceptions of their senses, images, sounds and smells and these vary from one to another.

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Film still from The Matrix, 1999

Copies are not clones. Every copy is unique.

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Peter Ashton, I am sitting in stagram, 2015

Oliver Laric, Versions series – modification, reformulation are the constant truths of image production. His interested in questioning whether life imitates art? or if art imitates life? – “we never see an image for the first time”

Richard Mosse, The Enclave, 1997

The copy is better the original – If the look of photography, film and video  is fitted with greater  realism than our perception, then the direct experience of direct perception is less oforeceive than the machines looking what ever that look is meant to be.

The way images are made and used are changing and the changes not only affect the way we understand art and other forms of imagery that are being made now, but they affect all the imagery that has ever been made, because all gets pload through these technology on its way towards us, so images are endessly modifield in new contexts.

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” We are inside the image. The image is inside us”

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Published by

tonidej

BA (Hons) 2nd Year Ceramics student at Cardiff Metropolitan University. Love experimenting with material and techniques and work on a range of medium.

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