wondering...

Technology and Temporality in New Media Art and Culture
Film Studies R1B Sec 3 | UC Berkeley Spring 2007
Class: M/W 11-12:30pm | Screening: Tu 5-7pm | 188 Dwinelle
In “Exposure Time, the Aura, and Telerobotics,” Marina Grzinic writes on Walter Benjamin’s “A Small History of Photography.” For Benjamin, “the longer the interval of exposure, the greater the chance that the aura of an environment—the complex temporal relations woven through its represented figures—would seep into the image, etching itself on the photographic plate…. More concretely, the temporal value of the interval determined a qualitative ratio between time and space in the photograph.” He goes on to explain that the “segmentations of time yielded qualitative changes in space: sensitivity to light, clearer focus, more extensive depth of field, and significantly, the fixing of movement.”
I think it is interesting what Benjamin points out—that as the exposure of a still reaches near instantaneous (as in a single frame of a video), there is what Grzinic calls a “complete aesthetic sterilization” of the image. From my basic knowledge of photography, it is true that the longer the exposure, the more depth of field, the clearer the focus, and the more visually “fixing” the movement. This is why landscape photographers such as Ansel Adams typically use a tripod and a prolonged exposure time. Even modern digital cameras have a “landscape” feature which uses a smaller aperture (or smaller lens opening) coupled with a longer exposure. However, I can’t help but disagree that a shorter exposure—and its resultant loss of focus (actually it produces images where objects at some depth is in focus while objects at other depths are out of focus)—produces a less quality picture. He may argue that a longer exposure presents the image in a way that is more like real life—where one can see everything clearly where one can see clearly wherever one chooses to direct one’s attention and focus. But what is this “aura” that he mentions, exactly. Is it this “life-like” quality of the image? I can not argue as to whether or not a short exposure produces an image with less “aura” as I am not quite sure what he means by it; though I will admit that there is a resultant qualitative difference, but not necessarily a loss of quality.
An image produced using short exposure times is not without its very admirable merits. Having certain areas of an image out of focus produces an instruction, a micro-narrative to the image; it tells the viewer what the producer of the image wants us to pay attention to. This allows for all sorts of interesting presentations and messages. Take for example an anti-drunk driving ad where a glamorized bottle of fine scotch is shown, in-focus, in the foreground juxtaposed in front of an out-of-focus scene of an auto accident with ambulance and stretcher in the background. It is much more interesting to me than one where all elements are sharp and in focus. It is also more effective. A picture such as this highlights the bottle of alcohol first, allows it to be mentally attended to—almost glamorized—before one perceives the background image. And because the traumatic image in the background is slightly out of focus, it forces the viewer to mentally think more about the scene, even produce a personalized narrative around it. The resultant loss of the “depth of field” in a short exposure photograph is, in some cases, well warranted by the increased potential for depth of meaning.
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I can’t necessarily say whether or not I agree with him. He makes valid points that do elicit a fearful vision of an automated, lifeless future. However, I doubt that we, as humans, will let this progression go so far. Besides, there are two sides to this; not all technologically-based detachment is essentially good or bad. For example, technology has replaced the need to spend our time doing mundane tasks such as washing clothes. Virilio mentions the recent use of the description, “washing-computer.” Sure, one can argue that there is some humanity in physically washing clothes. However, a nudist can also argue the act of wearing clothes challenges humanity.
It should also be noted that in many circumstances, remote automation is a far better alternative when it comes to reducing the risk of injury or death. A robotic “tele-presence” machine is indisputably preferred when disarming bombs or entering other dangerous areas. In this case, no one will argue of the benefit of technology (though also note that in this case, the bomb itself is a technological, spatially-remote replacement to physically beating people to death—a much more humanistic approach). Another form of technological detachment that has helped humanity is how medicine—antibiotics, especially—has replaced our bodies’ natural process of healing. However, some may argue that this technological intervention of bio-engineering has made our bodies’ natural ability to fight germs weaker and less effective. Even further (though perhaps to an extreme), one can argue that these technologies (that help make biological deficiencies inconsequential) disrupts natural selection, which is a very bad thing to do as it perpetuates the passing of maladaptive traits into the gene pool. For example, corrective eyeglasses—which changes the way our eyes perceive visual phenomena much like Verilio’s example of the light intensification camera—allow those of us, myself included, who would have fell victim to a saber-toothed tiger (or maybe just an unseen cliff) in more primitive times a chance to live as if we did not have such a biologically damning deficiency, and also pass on our myopic genes.
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From what I understood, Marina Grazinic, in her article, Exposure Time, The Aura, and Telerobotics, seeks to point out that media form such as photography represent the contraction of real-time into virtual time. In photography, what is important is, the temporal relation between the contents of the photograph. In other words, what's amazing about a photograph, is the feeling of holding still a moment in time. And longer the interval of exposure is, the longer will be the aura associated with it.
I think, this is true in certain respects. This is evident in new media forms as well. Grazinic points out the increasing importance being given to digitalization. She thinks of digitalization as representing an conscious desire to erase the temporal-reality and create virtual-reality. This would shorten the interval of exposure and therefore lessen the sense of aura that she speaks of.
Many new media forms such as youtube.com and myspace.com, that dominate the cyberspace, also seek to lessen the divide between the real and virtual. Less importance is placed on where the video was shot, who shot it, and when was it shot. More importance is being put on the content of the video, how easy is it to upload it, minimize buffering, and other technical things that seek to erase the temporal relations within the video and thereby create a virtual experience that is free from any real time constraints.
She also brings up a good point about technological usage is journalistic coverage of war. She proposes that we question the use of technology to create instantaneous new coverage because people might be hostile to the idea of having such images on their television screens. I think it is an important and interesting role that such technological innovations have played in shaping the political debate in this country. It is encouraging to see that technology has made it possible for us to know when a disastrous earthquake strikes thousands of miles away, so that we can send aid rite away.
This author seems pessimistic about the promise of technology, because for her what is more important are constraints like, place, position and time, that define the so called “natural Interface.” I think it is time to grow out of such mentality and be excited about the possible ways in which instantaneous telecommunication technology can be used to further the cause of mankind.
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