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Photography is one of the most mobile technologies, and it is organically implanted in the digital environment from the very beginning of its dominance. We used to contrast the real and the virtual, as earlier the body and soul, and then - the mind and feelings. However, modern thought has long ago concluded that the one is only a more complex form of the other.
In physical space, the possibilities of perception are not unlimited - the viewer literally hits the wall. The experiment on the equivalent existence of the exhibition as a single statement in the gallery and in the digital environment, expands (and deepens) the experience. The virtual environment is changeable and malleable, and the viewer is not only able to transform the object of observation - infinitely extracting it from the context and building it into a new one - but also becomes an object himself.
And yet, on the border of two environments, refraction is inevitable, and its nature is not obvious. The transition process gives rise to the experience authors live through, trying to understand how the nature of the statement changes.
But we are concerned not only with the tissue of the image and its metamorphosis in the process of the transmedial transition. The authors through a dialogue about the nature of photography - about its capabilities and weaknesses, paradoxes and patterns, eventually discover its ability to talk about the world.
In physical space, the possibilities of perception are not unlimited - the viewer literally hits the wall. The experiment on the equivalent existence of the exhibition as a single statement in the gallery and in the digital environment, expands (and deepens) the experience. The virtual environment is changeable and malleable, and the viewer is not only able to transform the object of observation - infinitely extracting it from the context and building it into a new one - but also becomes an object himself.
And yet, on the border of two environments, refraction is inevitable, and its nature is not obvious. The transition process gives rise to the experience authors live through, trying to understand how the nature of the statement changes.
But we are concerned not only with the tissue of the image and its metamorphosis in the process of the transmedial transition. The authors through a dialogue about the nature of photography - about its capabilities and weaknesses, paradoxes and patterns, eventually discover its ability to talk about the world.
