Taylor+Week+11

In many ways, these presentations are knocking down museum walls as Malcolm described. We are taking images that have no business being together and giving them purpose. I need to make sure that each and every image I use has new business in my presentation, that each is able to adapt to its new setting and context. Malcolm describes a camera in terms of it "formidable capacity for imposing disorder on reality" (61). For my purposes I think this works to my benefit as often the concepts of disorder and destruction or intertwined into some malicious being; my whole point being that this is simply not always so, it is just another thing imposed.

Einstein's Montage explored how the context of a photograph can completely alter its meaning, Being as the assignment was just this (to edit and path photographs to give them new meaning for our purposes) I need to consider how even the most minute changes can change the entire course of the presentation. I am beginning to see how delicately intricate a compilation of photographs needs to be when compiled for a specific purpose, even the slightest of discrepancies could certainly turn the whole thing on its head. I need to consider what the image not only means to me, but what connotations it may inadvertently carry with it for an audience. This will involve at the very least a general knowledge of the each and every photograph and the events portrayed within.

My presentation relys heavily on Ramage's concept of defamiliarizeation (R151). I need to shed new ligt on old events, and the only way in which I could see that being done effectively is staging a very simple yet potent formula for events. By showing the audience a before, during, and after scene of each act of destruction, I hope to create a model in which they can apply to separate themselves from any preexisting feeling towards the act. If I fail to set the stage coherently enough, the whole presentation will again be turned on its head.