Towards Nothing Really
Moving beyond the historical frame works that govern image theory, this work challenges both contemporary and historical understandings of analog vs. digital theory, specifically regarding the index.
With most everyone having access to a camera 24/7, the majority of which are directed at the self, the oppugnancy between the subject and the object has diminished. Selfies show not only the subjects face, but also connect them to a time and space, creating a timestamp currency of I am here vs the historical understanding of index as this has been. Accepting that images do not have to tell the truth, (which arguably they never really did), they are now open to a much wider spectrum of agency, a multitude of meaning which was once restricted. As images propagate online they pass unmounimentally as joke, meme, message or pure digital waste. They become speech acts in and of themselves, their existence is enough, their relationship to indexical truth severed, they serve a different purpose.
So are we to accept that the digital has no index? We loose the “truth”relationship in photons as they strike emulsion, might the digital pixel have something to offer in its place?
Looking to the apparatus, this work was created using a scanner as it scans nothing. Nothing in the sense that there was nothing placed before the scanner for it to see, other then darkness. This produces a system of feedback as the scanner attempts to make an image of darkness, nothing but the digital processes and quirks of the system provide any information to register, resulting in what some might classify as digital noise. As the digital recording apparatus (the scanner) attempts to record something, it leaves a traces recording of its own process, extrapolating these minor variances results in a visual image file that is directly relational to the digital image making process. The image is made exclusively of digital interpolation, residing in a digital format. A noise within the system thats present in other recordings, visually manifesting into a colourful array of interpolations.Does this begin to approach what historically was considered a indexical referent?
Aware of the climate around digital imagery today, is the existence of this image enough? Is it just a series of colours for us to quickly glance over? Or does it begin to expose indexical traces of a underlying system: the digital.