Frames /sing


The Synth of Photosynth: Subjection and Engagement

Here: Photosynth of Popolopen Creek [link did not work, now it does]

Still experimenting with the notions of Space implict and explicit in Microsoft’s new Photosynth service. Above is a still from my second trial, the first was talked about some in context with Graham Harman’s Object Oriented philosophy. As you might see from the still, the program and service offers a way to synthesize various planal captures of a physical space such that something of the original experience topos is re-produced. The planes of approach are vectored against each other under the posit of any number of virtual positions, and the effect is one of REAL environment. This effect is furthered by the means of viewing. One either toggles through the virtual space with the arrow keys, jumping photo by photo clump in a kind of primative, self-directed cinema staggar, or with the mouse slides through the space, up, down and across; or lastly one can pin-pointed planal windows with the mouse and jump-into each with a click, spun across the constructed dimension.

The aesthetic makes a good backdrop for some of the actor oriented thinking I have been doing (I am in the middle of reading Graham Harman’s forthcoming work in Latour Prince of Networks, and also studying Augustine’s De doctrina in view of Davidson’s principle of Charity). What strikes me most forcefully is the summoning up of the experience. It is not so much that the physical space is represented (though clearly it is reconstructed in a mathematical sense, and “the space” or “the object” in this aesthetic does seem to become the primary subject). It is more that the conscious engagement of an enviroment is re-lived, as if in the mode of a memory, the way in which objects, perspectives, aspects suddenly come into mental view in an unpredictable yet linked way (each visit to the synth produces a different narrative experiences). This mimic of consciousness becomes a parallel metaphor for the mimic of sight that the still camera rectangle accomplishes. Somehow in the whirl of axial polygons induces or invokes the experience of memory, (or investigation), the very topoi  of photographic iconic use.

In particular the hinge-swings of the synth which break from the smooth curve of the space, instead of expressing the failure of a continous space, in their imagery of book pages, call into being the very booked realities in which page-turns are not disruptive, but enhancing, apophantic. Reality itself is exposed as layered, positional, framing, temporal, juxtaposed in the very artifice of the aesthetic. One can feel the seams between photos, and it is this felt texture, like zipper scars, that gives the experience its power, the way that reality “shows through” the crude prismings.

The sun is dimming in the late afternoon of the bridge above. The positions of the subject jerk about as planal as their property frames, tied to so many Renaissance visual grids, yet as long-set sun, stones and snows turn on virtual axes, displaying their polygons, and the anamorphic projection of the self is levitated through-out, the spirit of the space (and not the subject) is called forth. In fact, the community of effects, something which is not centralized, not particularized is set up before one, across  flesh.

There are no Black Boxes, and Latour wants. There are more Spheres translimpid of occasioned and causal shadings. The way that bodies inform by combination.

[An alternate synth from the same site]


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