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AnalogNoise |(or)| DigitalGrain.

Crossroads betweeen light capturing using a material surface and the idiosyncratic workflows of digital image manipulation.

INSTRUCTIONS: IF YOU CLICK ON TOP OF ANY OF THE MOVING IMAGES YOU WILL CHANGE THE IMAGE DISPLAYED. IF YOU WAIT ENOUGH TIME, AT SOME POINT ALL YOUR SCREEN WILL BE A CANVAS WITH TRAILS FROM PREVIOUS IMAGES. ;)

Candid photography acting as a visual archive and copy of the referent, tranferring the world to images and hereby defining a context. Those images captured with analog cameras using fotosensible materials (film) pretend to recover the oldfashioned procedures started by Nicéphore Niépce, Louis Daguerre and William Henry Fox Talbot, relating those “light materials” to the digital domain using, yet another copying device, a film scanner. Generating an intermedial weird palimpsest while transitioning from the physicality and materiality of the analog medium to the incorporeal and intangible properties of the digital.

These digital and inmaterial images are processed through lines of javascript code to grant them with movement and interactivity; causing a double alteration: On one hand, clicking on them allows the user to go along all the images in the sequence reshaping the global context. On the other, the subtle animated wiggle changes them to a time based outcome that is in constant motion and evolution.
The blurriness, bleariness and haziness caused by the overexposure / underexposure acts like the proustian memory lead by fragments and a lack of linearity.
With this concatenated actions there is a constant back and forth glide between register, document, history, appropriation, copy, ephemeral, technology, storage, display, performance and construction / deconstruction.
This juxtaposition between the physical process of the photsensible material and the digital process of the scanner (copying and generating the digital file) tries to blurry the epistemological rupture caused by the evolution of the photography as a discipline and its technological processes. Once this context (created in the analog medium) has transitioned to the digital domain, a new arena is spawned: the (de)reconstruction of the context.
CAMERAS: Minox 35 GT / Halina 110 pocket camera
FILMS: Ilford HP5 Plus. Black & White. ISO 400. 35mm, 135 / Lomochrome Metropolis 110mm. ISO 100-400
SCANNER: Canon 9000f Mark II
FORMAT FILE: .jpeg
DPI: 1200 (original scan) / 72 (web/applets)