What would an image look like if it crashed into another? A bullet shot colliding with another mid flight. Large Hadron Collider logic. Will their signifiers finally settle like mud on a fish tank, or dust on the floor? Unrecognizable, fragmented and incomplete.

The sheer volume of digital photographs surpasses any sense-making human ergonomics. Thinking of thunder. Images arriving at the speed of light and their meaning arriving, if ever, later, at the speed of sound. The vertigo of photography as pure image. Representation representing itself.

Reflections about the nature of digital images and photographs. Wheat pasted photographs on a wall, removed; leaving behind only a partial register of their own visual existence.

Erased, deleted and obliterated. Algorithmically deleted photographs. Visual eschatological semiotics.

https://robertosalazar.co/

From the Magazine For Robots series.
Museum quality prints and 5300 x 7900 px files available upon request.

The End of Facts

“Everything faded into mist. The past was erased, the erasure was forgotten, the lie became truth.” ― George Orwell, 1984

Eschatological Semiotics

The End of Facts series is based on scanned printed matter. In this case page 03 of the June 1978 issue of Penthouse magazine.

This page, a whisky ad, was algorithmically erased and deformed through several cycles. Every cycle generating new data over and over again. The photographic image on the page, as indexical reference has been obliterated. Only its galaxy of shattered bits remains.

Museum quality prints and 5300 x 7900 px files available upon request.

Social_Zeiss_35mm (raw data)

What is the value?

Details