Elucidating photography fun dating quiz
On one hand, we can think of it as an operation that attempts to subvert the documentary aspect of the photographic image (its “natural” function and meaning, we could say) through the inadequate use of its own expressive and compositional codes.
Distancing himself from the proposals of Benjamin, for example, he concludes that the photographic image does not automatically register the impressions of light from the physical world, but rather it converts scientific discourse, a predetermined code, into a visual scene; as the author himself states: the camera “is programmed to translate this concept into an image.” are not innocent recordings of the world but, on the contrary, respond to the determinations imposed by the concepts that shape and inform them, as well as to the “semiotic machines” (the camera, the computer) that produce them.
The images produced by these devices are already previously inscribed in their operating systems, and therefore every “machine” possesses a determined range of potentialities that can be fixed into images.
In this way, , photography among them, emerge from a semiotic process that goes beyond the subject and its intentions, since they originate in “black boxes” whose functions escape that subject either partially or entirely.
This is also why they have had a problematic, isolated and uncertain history within artistic practice, which is traditionally associated with a type of expressiveness anchored in the individual subject.
By intervening into these defective documents, Perna opens up the images and the pre-existing figures in them (common images, belonging to consumer society) to a vast array of unexpected significations.