in between high resolution and distortion there is a certain shift: the movement of the gaze towards the deepest parts of the pixels: a destructive movement towards that, which can’t be depicted. before that: in between the viewing and the viewing in high resolution there is a certain double shift: the wide eyes opening for the sake of the revealing sublime and the movement of the gaze towards that unique point that is opening up for the first time.
the social narratives of the visual culture are constituted on constructions of high or low resolution and the chamber of the eye is called to replace the chamber of anatomy. the comprehensive tools depend on the proximity and the deepening reveals each time a total image. a motif of multiple movements, as the microscope tries to capture the constructions unmediated and to listen to their pulse: this greedy consumption of space in the travelled distance from the general image towards the infinite detail and vice versa.
this route, paved with paraphrases, distortive filters and indecipherable traces, more than just a course of rationalization and revelation of that, which lives there, more than a cartographic movement of that, which exists there, is a direction of radicalisation of that, which did not seem that could happen there. it is an inhabitation bordering on high resolution image and its distorted self.
there is no inborn and self-evident radical dimension […]. even better: it’s of no interest a (possible or not) radical dimension in the constructions of visual culture. the peeling of the piles between the observer and the incident, the disappearance of the space in between, the reconstruction of fields of apathy into fields of certainty, are, of course, issues that have their own charm.
there is undoubtedly a tendency, an inclination towards the promise of the charm. There is no certainty that lives there, besides the certainty of a bump that stimulates all the senses. behind though the peeling of the piles, there is an untrodden tip, not inhabited by any charm, nor attracted by any promise. It is the demand for truth; a paradox that lives with the disappearance of meaning, the refutation, the vagueness, the event and the accident. It is the sine qua non, of View Images in High Revolution.