|
June 29, 2004
Many critics see photography from the perspective of a literary culture. Susan Sontag is one such figure. With them the word triumphs over the image. The assumption is that it is only narrative that enables us to understand.
That was the assumption of A Japanese Story. Hence its aesthetic conservatism.
Why not start with the visual?
Robert Rauschenberg, Pledge, 1968
The images are assembled in a loose, poetic manner, creating an impression of visual flux that allows the viewer to free-associate. Is this not a mode of knowing in the metropolis?
Is there not something called visual knowledge?
|
