Photos: Paw Prints [HCI]

by Beauchamp Art

Paw Prints [HCI]

Paw Prints [HCI] - 03

Paw Prints [HCI] – 03

Macro photos of the screen displaying the ‘Hand Of‘ series, in which I exploit the pixilation of the images at a reduced scale and the moiré effect photographed from the screen, abstracting the anthropomorphic hand into a digitally obliterated inhuman form.

The title juxtaposes the hand of the user with the paw of the mouse; an electronic device that cannot physically leave ‘paw prints’, like that of an organic mouse.

One aspect of these images when seen collectively with each other, or with previous photographs that also magnify the pixel is that the viewer may desist from attempting to understand or deconstruct the potential meanings of the piece and seem them just as a curious visual amplification of the overlooked elements of the screen. Somewhat ironically, the audience may only see the pixels rather than the image, turning the notion of seeing the image rather than the media on its head (so that one can no longer see the forest for the trees). All the images may blur together into one, collective, pixelated noise (thus baring more resemblance to a loading screen in The Matrix films; a novelty rather than a serious contemplative point).

Rather than critiquing the media and the potentially problematic aspects of digitalism, compression and unacknowledged mediation, these images could be seen as merely a hyperbolic examination for the sake of aesthetes; a fetishization of the pixel; and thus any sense of criticism may be ignored.

Such “modern media [follow] the logic of the factory,” [Manovich, 2001: 29] so therefore the examination of the digital image structure could be compared to looking at the bricks in the wall of social building complex; both products of the modern need for speed; rapidly built structures versus rapidly rendering images – pre-made and globalized. The severed building blocks become a fragmented formlessness, without relevance to an organic world. However, by effecting a tension between the form and abstraction, it is possible to invoke a sense of uncanny within the audience and evoke a dialogue around the ambiguity of the blurring of distinctions between objective and subjective realities.