Reading response #2

In contemporary captures I don’t consider anything objective. After reading about the history and development of different photographic processes it seems like it never was objective. What seems to have been objectively present was the quest for a capture situation that would be objective. A desire, in the western tradition of the enlightenment and its relation to the scientific method, to make something verifiable by reproducibility and replication. So, while there may be tools that can now generally reproduce roughly the same image in a repeatable way, it is not that the process is objective, but more that the journey towards seeking something objective has resulted in something that is close to agreeable in a more generalized way. This idea about process in relation to identifying an objective image is different than a predictive one. While objectivity I think is inevitably wrapped up in the human-perception centric sense of the creators if the image technology, I think there are at this point chemical process for capturing light (or other capture techniques) that can be predictable, or likely to be repeatable. And is predictability what is tied to the veritas of objectivity? That is the question I would posit at the end of this reading.

Author: Joseph Amodei

Joseph Amodei is a video/media/performance artist and theatrical designer based in Pittsburgh and NYC. Joseph conceives of art as a powerful epistemic and emotional tool for examining assumed realities. His work combines innovative technology, extensive research, and hope for alternate futures to invite audiences into a communal process of debriefing and re-learning. Joseph grew up in North Carolina, where he received a BFA with honors in studio art from UNC-Chapel Hill. Currently, he is an MFA candidate in video/media design at Carnegie Mellon's School of Drama.