Notes, Thoughts, and Observations
In his book The Other Paris (2015), Luc Sante informs us that to go to the guillotine was colloquially known as 'to get oneself photographed', and that 'the executioner's aide who positioned the victim's head in the lunette was called 'the photographer'. After reading this, the term snapshot takes on an entirely new meaning. The reason why so many snapshots chop people's heads off is also explained.
`Do we now need - even more than we need photographers - metaphotographers capable of sorting through some of the billions of images now available, adding their own, and contextualizing all of them so that they become more useful, more complex, and more visible? - Fred Ritchin, Bending The Frame: Photojournalism, Documentary, and the Citizen, 2013, p. 6.
‘Any dynamic image begins with what is so dully called composition–how the frame is filled, not just with forms but with movements, and with how these seduce our perception.’ -John Berger, ‘Means to Live - Nick Waplington: Living Room’ (1991)
`Thanks especially to the digital image, the contaminations between images that move and those that do not have become more and more fertile’ - Raymond Bellour, Between - the - Images, p. 11.
'More inclined to move than to focus, more inclined to graze than to gaze' (Laura U. Marks,  The Skin of the Film: Intercultural Cinema, Embodiment and the Senses, Durham, NC: Duke UP, p. 162)
As always, the struggle is against the forces of endarkenment.
A lifelong struggle to balance light and shadow.
`One can argue that numbers are among the most potent weapons of violence today, partly because capitalism has led to the dominance of a kind of numerical logic. After all, capitalism, at its ideological core, is a matter of numbers’ - Tabish Khair, The New Xenophobia, p. 137.