Thursday, April 1, 2010

the familiar sea

If I understand correctly, Rancière doesn't mean images are categorized into as resemblance and as non-resemblance, but one image can work both way simultaneously: we cannot simply say that this painting is resemblance or that film is non-resemblance. He refers this non-resemblance to something passing itself off as the Other, if not novelty. What he calls today's "formal imperative of non-resemblance" is actually imperative of the Otherness. Many photographs that show their otherness neither renounce the visible nor meticulously craft in a way literature does. Rancière adds another term, hyper-resemblance, which refers to the resemblance that are not merely a copy, but the one can pass off itself as the Other. Roland Barthes's Camera Lucida shows many examples of them.

It takes time to read Rancière's book, because it tends to prompt me to play around with images in my room. Cutting my bad drawing, I made a humble video, again. This time, too, I hegitated to add audio:

Not the Other, but familiar...

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