For The Love Of Photogénie
Thoughts On: Photogénie
Further consideration of the morally enhancing image.
Photogénie. Photogénie. There isn't a more eloquent and abundantly adaptable and meaningful piece of film theory. Despite all the image's failings, all the spectator's scepticism, photogénie stands tall as the irrefutable reason why the image, whether it moves or not, is nothing but lovable. The fact, not the concept, of photogénie has impacted my being tremendously. I can tangibly trace it, a biological reaction in my body, back through my life. Absurd it may seem, but much of the genuine love I have experienced is pinned in images, has flourished through images. Many of those images I keep to myself, but there is a series out there to be shared: those in the cinema. I have loved, I suppose I love, cinema - certain corners and pockets, images and moments. Sparks of photogénie define this, possess me and hold me true to myself. It then seems to be so that I feel truly myself when awash in photogénie, faced with my very own capacities for empathy, yearning and gratitude.
A recent photogénic trip has taught me that that great existential result of photography's and cinema's inception fuels and gives the deepest complexities to photogénie. The photographic image put space and time in the hands of man. We bottled, in some way, reality. What this means, we cannot fathom. Yet in part I believe photogénie allows us to understand that the image has taught us to love anew. It goes beyond likeness, the image bears part of the soul, and it is no metaphor that we encapsulate and hold central in our lives preservations of the moralised human being.
The preserved image may be contemplated, loved, fallen into, can exude photogénie, precisely because it is parts human, parts material: plastic in the artistic sense we may say. The plasticity and humanity that facilitate photogénie are so necessary precisely because existentialism requires a slight evaporation of the present. To understand ones existence, or to at least make the subtle attempt, one is required to conceive of time and being as something greater than the present. Humanity exists through all incarnations of time, in a mental 4D space. Yet, it is through preserving some slice of the past that the plasticity of art opens a gateway to the existential plane, and thus photogénie - and of course, its sensory cousin: lyrosophy. Only in preservation, in a mode of existential consideration, can humanity be absorbed. What an accessible ritual photogénie allows this to be.
It is without intent, more so enamoration, that I try to give further voice to the phenomena. Existentialism via preservation; lyrosophy and photogénie; self to love.
Further consideration of the morally enhancing image.
Photogénie. Photogénie. There isn't a more eloquent and abundantly adaptable and meaningful piece of film theory. Despite all the image's failings, all the spectator's scepticism, photogénie stands tall as the irrefutable reason why the image, whether it moves or not, is nothing but lovable. The fact, not the concept, of photogénie has impacted my being tremendously. I can tangibly trace it, a biological reaction in my body, back through my life. Absurd it may seem, but much of the genuine love I have experienced is pinned in images, has flourished through images. Many of those images I keep to myself, but there is a series out there to be shared: those in the cinema. I have loved, I suppose I love, cinema - certain corners and pockets, images and moments. Sparks of photogénie define this, possess me and hold me true to myself. It then seems to be so that I feel truly myself when awash in photogénie, faced with my very own capacities for empathy, yearning and gratitude.
A recent photogénic trip has taught me that that great existential result of photography's and cinema's inception fuels and gives the deepest complexities to photogénie. The photographic image put space and time in the hands of man. We bottled, in some way, reality. What this means, we cannot fathom. Yet in part I believe photogénie allows us to understand that the image has taught us to love anew. It goes beyond likeness, the image bears part of the soul, and it is no metaphor that we encapsulate and hold central in our lives preservations of the moralised human being.
The preserved image may be contemplated, loved, fallen into, can exude photogénie, precisely because it is parts human, parts material: plastic in the artistic sense we may say. The plasticity and humanity that facilitate photogénie are so necessary precisely because existentialism requires a slight evaporation of the present. To understand ones existence, or to at least make the subtle attempt, one is required to conceive of time and being as something greater than the present. Humanity exists through all incarnations of time, in a mental 4D space. Yet, it is through preserving some slice of the past that the plasticity of art opens a gateway to the existential plane, and thus photogénie - and of course, its sensory cousin: lyrosophy. Only in preservation, in a mode of existential consideration, can humanity be absorbed. What an accessible ritual photogénie allows this to be.
It is without intent, more so enamoration, that I try to give further voice to the phenomena. Existentialism via preservation; lyrosophy and photogénie; self to love.
