PLACES
Time, space, energy
The magnificence of photography that appeared at the end of the 19th century is the result of some electro-chemical-physical processes: from readers of reality educated by our senses to the physicality of the world, the final result concluded to be an artifice, an image, a synthesis likelihood of what surrounds us.
Time, space, energy
Having said this, it is easy to conclude that the relativity of these aspects places the photographic language together with others, but I am talking about this, as an effective tool in educating the observation skills of the observers and in multiplying the ability to condition the observation field of the observed .
The magnificence of photography that appeared at the end of the 19th century is the result of some electro-chemical-physical processes: from readers of reality educated by our senses to the physicality of the world, the final result concluded to be an artifice, an image, a synthesis likelihood of what surrounds us.
What if instead it were the result of an experimental observation, a testimony of that process which is the heart of the relational interpretation of quantum theory?
Photography is a physical imprint, a sign, a reaction resulting from an action, in which light with its specific characteristics as an electromagnetic wave and with its ability to relate also as corpuscular matter acts directly or by rebound.
From bodies partly rejected, partly absorbed, partly dispersed, partly deflected and builds the characteristic relationships with the observing object (the support or film) that press, bounce and reflect in the observation field to form in our observer eyes the image.
The universal reality
I can conclude that reality is also the recorded observation that we commonly call photography.
And it is easy to see that time and space are annulled, that the interweaving of light proposes a different vision than the educated conscience of many and that this recorded relationship also possesses the characteristic of being an observing element capable of relating.
It is the confirmation of why the same image is able to set in motion reworking processes of the memory, of the unconscious, of the emotional sphere so different among the various observing subjects that even without a conscious act they lend themselves to the infinite dance of reciprocal observation that defines the universe.
























