Digital: Harry’s Portrait OF Scans
by Beauchamp Art
The multilayered, optically flowing version of the video made from Harry Darlington’s 100 digital portraits; displayed on a smartphone screen, and scanned.
In two of the images, the full phone was included in the image, to give the pictures context, to show where the video was being displayed, how it was being captured, and also to inform the critical dynamic surrounding the relocation of the social space into portable network devices, and the presence of mediated interactions in the everyday (of wealthily Western nations). It also presents the the forward-facing camera to the audience, potentially querying the role of the viewer, suggesting that their image may be among the amalgam. This could be seen to show the subject of the phone as both medium and interface, that which “becomes the point of transition between different mediatic layers” [Galloway, 2012: 31]. However, the cropped images foreground the RGB sub-pixel rendering of the image, in line with a Lichtenstein-like Pop-Art for the new media aesthetic.
In the stretched image, the phone was moved along with the light of the scanner, to capture the transition between the images from the video and recombine it with the movement in physical space of the phone, capturing two forms of image reproduction and presentation simultaneously. This also hyperbolised the moiré effect of the media, where the movement of the phone and that of the scanner became desynchronised, adding to the glitch-like aesthetic, thereby presenting “an aesthetic of incoherence ([breaking] the fourth Wall, [embracing] optical illusion)” [Galloway, 2012:48].
These pictures could be seen as hearkening to the Cognitive Dissonance of Telecommunication / Contemporary Human Condition and Disassociated Self works in from BA4, where I reprocessed an image of my face displayed on my phone scanned, with my face in the background.