이 글은 디지털 vision technology. digital imagery가 어떠한 변화들을 불러오는지 이야기한다. art context라기 보다는 social/political context이다. 기록하는 시간성, 기록하는데 필요한 빛, light 등.. 아주 복잡하고 광대한 이야기들을 하고 있다. 상대성 이론 등 과학 등 총망라하고자 했다.
sythetic perception machine –> synthetic vision : kinematic energy, virtual image, automation of perception등에 대해 이야기한다. argument가 좀 급진적 극단적인 경향은 있지만 참고할 만한 부분들도 있다.
This impending mutation of the movie or video-recording camera into a computerised vision machine necessarily brings us back to the debate about the subjective or objective nature of mental imagery. … Therefore, no longer has much to do with the mental images of consciousness alone. It is now essentially concerned with the instrumental virtual images of science and their paradoxical facticity. (135)
so the act of seeing is an act that proceeds action, a kind of pre-action. .. With the rapid rise of professional simulation and company projections, and the advent of vision machines designed to see and foresee in our place. … These synthetic perception machines will be capable of replacing us in certain domains. … (136)
물리학자들이 흔히 에너지를 두 종류로 분류하는데 : potental energy, kinetic enery 여기에 하나더 추가될 것이라고 주장한다. kinematic energy. ..After synthetic images, we are on the verge of synthetic vision, the automation of perception. (137)
이미지 로직에 3 종류가 있다고 본다.
1. Formal logic
2. Dialectic logic
3. Paradoxical logic
The age of the image’s formal logic was the age of painting, engraving and etching, architecture; it ended with the 18th centuty. The age of dialectic logic is the age of photography and film, or the frame of the 19th century. The age of paradoxical logic begins with the invention of video recording, holography, and computer graphics.
the paradoxical logic emerges when the reali-time image dominates the thing represented, real time subsequenty prevaling over real space, viruality dominating actuality and turning the very concept of reality on ts head…. With paradoxical logic, what gets decisively resolved is the reality of the object’s real-time presence. In the previous age of dialectical logic, it was only the delayed-time presence, the presence of the past, that lastingly impressed plate and film. The paradoxical image thus acquires a status something like that of surprise, or more precisely, of an accidental transfer. (138)
In fact, if every image is the manifestation of an energy, of an unrecognised power, the discovery of retinal retention is much more thant insight into a time lag. … (149)