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THE CAMERA AS A SCIENTIFIC INSTRUMENT
This is another selection from the soundtrack for "Trafficking in Reality," the documentary (still in production) that explores ethical issues of documentary filmmaking. Among those issues is the effect of the camera itself upon reality, how the camera imposes itself, literally, between filmmaker and subject.
As we know now, the camera's images can be manipulated to alter and construct a view of reality that is very subjective. But In the early years of photography, the camera was viewed not as a new tool for artistic expression, but instead as a scientific instrument. In 1837, M. Francois Arago hoped to persuade the French government to purchase Daguerre’s photographic patents as a gift to the world. In the Chamber of Deputies, Rep. Arago stressed the scientific uses of the camera for accurate copies of hieroglyphics, and for physicists and meteorologists. Arago expected the camera to join the thermometer, barometer, telescope, microscope and hygrometer as the latest of scientific instruments. The Encyclopedia Française makes a similar case: “The photographic plate does not interpret. It records. Its precision and fidelity cannot be questioned.” Brian Winston, in an essay for Michael Renov’s 1993 book, Theorizing Documentary, points to the “powerful argument, grounded in centuries of modern scientific inquiry, for seeing the camera as no more and no less than a device for representing the world of natural phenomena.”
The music in this piece will accompany images in the documentary that illustrate the history of the camera, and the effects of the camera's "gaze" on representations of reality in documentary films.
I know - Z-z-z-z-z. Enjoy the piece!
p.s. "The Camera's Gaze" is based on a piece I posted on MacJams almost 3 years ago exactly called "Revolving Door."
This is another selection from the soundtrack for "Trafficking in Reality," the documentary (still in production) that explores ethical issues of documentary filmmaking. Among those issues is the effect of the camera itself upon reality, how the camera imposes itself, literally, between filmmaker and subject.
As we know now, the camera's images can be manipulated to alter and construct a view of reality that is very subjective. But In the early years of photography, the camera was viewed not as a new tool for artistic expression, but instead as a scientific instrument. In 1837, M. Francois Arago hoped to persuade the French government to purchase Daguerre’s photographic patents as a gift to the world. In the Chamber of Deputies, Rep. Arago stressed the scientific uses of the camera for accurate copies of hieroglyphics, and for physicists and meteorologists. Arago expected the camera to join the thermometer, barometer, telescope, microscope and hygrometer as the latest of scientific instruments. The Encyclopedia Française makes a similar case: “The photographic plate does not interpret. It records. Its precision and fidelity cannot be questioned.” Brian Winston, in an essay for Michael Renov’s 1993 book, Theorizing Documentary, points to the “powerful argument, grounded in centuries of modern scientific inquiry, for seeing the camera as no more and no less than a device for representing the world of natural phenomena.”
The music in this piece will accompany images in the documentary that illustrate the history of the camera, and the effects of the camera's "gaze" on representations of reality in documentary films.
I know - Z-z-z-z-z. Enjoy the piece!
p.s. "The Camera's Gaze" is based on a piece I posted on MacJams almost 3 years ago exactly called "Revolving Door."
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Feter
the electric piano sounds help alot jumpin
back and forth from black and white into colorfull
images and its definetly genious and dreamy
kind of music ..very well arranged .at some point
when the bass join was so just in time ..
great production ..thnx alot for sharin such work !!!