Sunday, August 8, 2010

The images appear on the screen one after another in breathtaking speed. One can follow this sequence of images, just as if the imagination had become self-sufficient; or as if it had traveled from inside to outside; or as if one could observe one's own dreams from the outside.
...some of the appearing images can be surprising: they are unexpected images. They can be preserved on screen (and in the computer's memory). Then, one can modify these preserved images; one can become engaged in a sort of dialogue between one's own imagination and the imagination fed into the computer. Images modified in this manner can be transmitted to other image creators (it does not matter where they live),
It is true that some of these images look like copies of facts...
The real purpose is to bring out unexpected situations from among a given field of possibilities.

...this is precisely why learning to photograph in the sense of a posthistorical projection would be extraordinarily emancipatory. Because photographs are in the process of departing from paper and chemicals in favor of electromagnetic fields, there are already numerous approaches to learning how to photograph. Thus, the universe of images that surrounds us and whizzes us around will be changed from the bottom up.
...we will be actively engaged in the production of these models. It will be a universe through which we will project ourselves out of the present and into the future.

...the tribe, have to gather themselves around the image, to practice hunting in the presence of the image, for instance, through dancing.

From this point on, one can speed up events, watch them in slow motion, and work them into flashbacks. Most important however, one can cut the tape of Western history and splice it back together.