My Brain on Pixel Space and Boring Rules

Sometimes my brain independently interviews itself on certain topics. This time, a background process researches what I think about photography as an artistic medium. I managed to grab it by the tail.

Will AI Kill Photography?

Do you think AI will, at some point, become better at taking pictures than humans, and photography will be dead?

I am not afraid of what will happen. Stronger, there will be a point in time when AI will be better at creating a particular kind of picture. But that is not as disastrous as photographers think it is.

  1. The current capabilities of AI are vastly overrated. AI is still an aggregation of what is out there. There is no invention, no novelty. Will there ever be surprising novelty? Maybe. But would you be interested in it? I doubt it. For advertising, as illustration, but as art, that surprises and moves. I doubt it.

But suppose AI becomes better than us at taking pictures:

  1. Keep making pictures anyway. People are still playing chess. It’s the process, dude. I guess each of us needs to consider why we are taking pictures in the first place. Do you really want to leave such an important activity to an AI?
  2. It is our challenge to find something that AI can not do better than we can. It is our challenge to find something no one can do better than you, in general, as makers. AI capabilities would be a fantastic challenge to human creativity. We should embrace that challenge rather than be afraid of it.

Will things change? Yes. But we should not react with the same Luddite arguments as photographers did when digital photography emerged.

david hockney - collage of cropped photos

On Cropping and Creative Freedom

Something different: Do you crop your pictures?

Uninteresting question, and you will see why. Yes. I crop whenever I want to remove things from the picture I don’t like. I am not religious about cropping. Or applying whatever modification to the picture, in fact. If someone can make a lovely image from a photo by cropping everything except a single pixel, I am totally ok with that. Or when someone glues 273 images together to create a great picture, it’s totally fine.

Really, I am fearful of orthodoxies. You must… use 28mm for real street, apply golden rules, only photography at dawn/sunset/hard light/…, shoot from the hip/viewfinder, use layers/deadpan/… in your pictures, never crop, never pose, … Screw all that. Wolfgang Tilmans blew up low-res images to great pictures. David Hockney cut and glued images to create fabulous artworks. Even Elliott Erwitt cropped the hell out of his photos.

I don’t want to limit my creativity by any such orthodoxy.

The Finite Space of All Images

My brain is researching the creative border. On that … Lately, I was also thinking about the limited pixel space we operate in. Say our images are 1000 by 1000 pixels, that is 1 million pixels, but the size does not really matter. It could be a million by a million, that is not the point. Each pixel in the one-million-pixel space can have 256 different color values (or 16000; again, the exact number does not matter). Then the total number of possible pictures is 256^1000000 (256 to the power of 1000000). That is a lot, but it is a finite number of pictures. Think about that.

These pictures include everything we can photograph around us, at any moment in time. Everything we see today, tomorrow, any picture we take fits in that space. And anything that happened in the past. A portrait of Napoleon, the building of the pyramids, a Neanderthal, a dinosaur, the Earth being hit by a giant meteor, everything.

I am only orthodox about trying not to be orthodox.

Jenny Odell – How To Do Nothing

How To Do Nothing

Jenny Odell wrote a book about how to do nothing, but it is actually about how to do meaningful things.

Odell wants to help us move away from the attention economy to a physical, public reality, by “doing nothing”. She shows us that doing nothing does not mean turning away from the world and live like a hermit, discarding all contact with the world. Alternatively, through turning away from the breaking-news attention seeking media, and instead focusing our attention to details in the real, physical world, we can discover a more satisfying and meaningful way of living.

What we should aim our attention at to be meaningful to the world, is our local environment. I do not know if Odell has invented the term, but she is a great proponent of Bio-regionalism: an attention, interest and familiarity with our local ecology. Which gives us valuable insights into the complex relations with other things.She herself found bird-watching an interest that lifted her attention for her local environment. It makes her drop out of the linear time, and when coming back to everyday life, see things differently.

Odell links in John Cleese – and I love that reference – in a Youtube performance on Creativity. But What I like most about the John Cleese video is this:”Pondering leads to creativity and insurrection.”

She describes uselessness as a strategy. I love this idea. The example Jenny Odell given is an extremely old ugly tree with lots of knots and bolts. How did it get this old? By being so ugly and gnarly. The tree is too difficult for lumberjacks to cut down. All trees around her have been cut down over the past centuries, but she has survived because she is useless. Another similar strategy is being too weird to be of any use. Remain weird, hard to categorize. Exercize “resistance in place” – be hard to appropriate by any capitalist value.

In social media, everything needs to be monetized. Time becomes an economic resource we can not spend on doing “nothing”. However, a sensible way to do nothing has benefits to offer: move away from your FOMO to NOMO – Necessity Of Missing Out, and a sharper ability to listen – ” Deep Listening”.

We should protect out spaces and time for non-instrumental, useless – in the sense of non-commercial – activity and thought, maintenance and care.

Odell tells us to value maintenance over productivity. Instead of productivity, value:

  • maintenance
  • non-verbal communication
  • experience

Of course this reminds of Cal Newport’s Digital Minimalism, but interestingly enough she does not reference him anywhere. Which reminds me of the highly related article Newport recently wrote for the New Yorker on why people are quitting their jobs after the pandemic.

She quotes Epicurus: source of a troubled mind: unnecessary mental bagage due to runaway Desires, Ambitions, Fear and Ego.
An answer to the attention economy could be totally turn away from society, but Odell proposes another approach: “standing apart”, in which we contemplate, and participate, look at the world with a futurist view, instead of a view dominated by perceived urgency. We should not retreat, but practice refusal, boycott and sabotage.

If we apply Cicero’s Will, Perseverance Drive and Discipline, we can deny provocations outside the sphere of the desire attention. And improve acuity of our attention for other things.

Jenny Odell quotes David Hockney’s critique on photography as being the “cyclops view of the world, but for a split second” (paraphrasing). Instead, reality is a collage, a personal construction of images.

Reality or perception changes when you look at it rather than through it. Like Jeff Wall’s approach to photography. He reconstructs reality instead of taking a picture of it when it appear to him. In such a way he avoids his viewers to look through the picture at the subject rather than at it.

Looking attentively is like jumping into Alice’s rabbit hole. It is fun to do and revives our curiosity. Also it allows us to transcend the self and gain new understanding of things. It helps you not to marinate in conventional wisdom but to be open to change and deviating ideas.

Where (social) media throw context-poor factoids at you, researching a topic more deeply gives you a full understanding of the context of things. That is such a danger of the urgency-driven media: the lack of context they give.

It is not about doing nothing. It’s about doing the right thing, with attention, focus, discipline.

Hockney’s Insights on Painting and Photography

I read this book about David Hockney, A Chronology, a thickly illustrated book by Taschen. It is currently on sale in many bookstores.

David Hockney, A Chronology

Hockney could paint wonderfully at a young age. I sometimes mess around myself, but when I see his early paintings, I quickly throw my crap in a corner.

What I think is so great about Hockney is that he kept experimenting. He played with a photocopier and with photography, taught himself to paint with watercolors later in life, and got to work early on with a computer, iPhone, and later iPad. He made films and great set pieces and drew with pencil and charcoal.

Despite pioneering work with his photo collages, photography ultimately did not bring him the satisfaction he sought.

“The trouble with photography: it’s not real enough, not true to lived experience.”

In his experiments with photography, he bends the reality of the photograph into the reality of what has been observed.

david hockney stagedesign

Painting is his thing. According to Hockney, three things are essential to this: the eye, the heart, and the hand. He is a master in all three.