Bergson on his part sees that our word “memory” mixes together two different kinds of memories. On the one hand, there is habit-memory, which consists in obtaining certain automatic behavior by means of repetition; in other words, it coincides with the acquisition of sensori-motor mechanisms. On the other hand, there is true or “pure” memory; it is the survival of personal memories, a survival that, for Bergson, is unconscious. In other words, we have habit-memory actually aligned with bodily perception. Pure memory is something else, which is related to the unconscious
Image & Narrative , Vol 10, No 1 (2009) 187
and therefore unable to be designated or denotated. But that is exactly what happens in Sugimotos Seascapes: they unmask, as do Bergson and Deleuze, the human desire to designate things and go beyond the desire for formalisation and denotation. In weakening the representational caracter of his images Sugimoto makes them a pointing gesture to something that cannot be named and is therefore more a reference to a virtual memory than a reference to a single object.
The image seduces the beholder to believe in its representational qualities but never redeems it. In order to create this illusion Sugimoto makes much out of the fact that photography‟s mediality becomes transparent. He makes much out of the fact that the grain becomes invisible, to eliminate the material appearance of the medium.
Bergson on his part sees that our word “memory” mixes together two different kinds of memories. On the one hand, there is habit-memory, which consists in obtaining certain automatic behavior by means of repetition; in other words, it coincides with the acquisition of sensori-motor mechanisms. On the other hand, there is true or “pure” memory; it is the survival of personal memories, a survival that, for Bergson, is unconscious. In other words, we have habit-memory actually aligned with bodily perception. Pure memory is something else, which is related to the unconscious
Image & Narrative , Vol 10, No 1 (2009) 187
and therefore unable to be designated or denotated. But that is exactly what happens in Sugimotos Seascapes: they unmask, as do Bergson and Deleuze, the human desire to designate things and go beyond the desire for formalisation and denotation. In weakening the representational caracter of his images Sugimoto makes them a pointing gesture to something that cannot be named and is therefore more a reference to a virtual memory than a reference to a single object.
The image seduces the beholder to believe in its representational qualities but never redeems it. In order to create this illusion Sugimoto makes much out of the fact that photography‟s mediality becomes transparent. He makes much out of the fact that the grain becomes invisible, to eliminate the material appearance of the medium.
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