Looking and Seeing: Section Seven: Assignment: Dot in Space continued

I find I often don’t get far if I start synchronizing as soon as I walk out the door.

By synchronizing I refer to the process of calming the mind, of letting thought settle and inviting an awareness of presence - the ambient temperature, the wind, the smell and sound of the environment, the weight of my body, the placement of the limbs, the rhythm of the breath. I do this in preparation for and immediately prior to shooting in whatever environment I happen to find myself.

This weekend I was shooting my neighborhood and had the intention of visiting a far corner that I don’t often get to.  But following synchronization, I find my pace slows considerably - as I intend.  And then I never get any further than a couple of blocks from my starting point because there is so much interesting detail nearby.

My solution was to walk deliberately to that far corner without my camera to hand and do my synchronization there, rather than right outside the door.  I thought of my walk as driving to my destination and that turned out to be a workable solution.

Looking and Seeing: Section Seven: Assignment: Dot in Space

Dot in space ... “is the key to the visual as the visual.”  The authors assert it encapsulates the experience of seeing:  to see a figure on a ground.  (As I’ve been arguing all along), seeing is possible because of contrast, because one thing is different from another thing. Perception, the authors argue, is an expression of a foreground figure on a background, or dot-in-space.  In fact, “all the photographs we have taken so far are dot in space.”

They then use a common optical illusion, which can be seen in one of two ways, to demonstrate how the perceiver creates perception.  They do this to make the point that perception and perceiver cannot be separated.  There is, in other words, no objective visual reality.

The assignment is to go out and shoot some dots-in-space. The chapter then proceeds to a discussion of Dot-in-Space as a Level Two practice, which the authors describe as “the world of sense and sensibility, the world of ordinary magic and everyday beauty.”

The biggest difference from Level 1 is a refinement of vision, a pulling back in which the abstract becomes concrete. (This appears to be contrary to conventional photographic practice, which begins with shooting things before learning to see them as symbols.)  There is direct engagement with things, rather than “a distanced documentation and representation.”  In Level 2, “the dot is no longer a formal perceptual value.”

The assignment is extended to work at Level 2 and seeing things as manifesting things. Unfortunately, it is not suggested how one might engage this kind of vision, but the authors claim that in reviewing photographs one should be able to distinguish between L1 and L2 images.  I’d like to see some side-by-side comparisons.

I will be shooting Dot in Space starting this weekend, but until then I have posted some recent images that seem to fit the bill.

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Looking and Seeing: Section Seven: Assignment: More Space

I've been focusing on space this week.  Besides setting my intention while out in the neighborhood, I've also taken to forums to seek feedback.  So far the response has been sparse:  one respondent noted a similar confusion.

I've also looked for additional text treatments on the subject (besides Karr and McQuade), but haven't yet found anything.  If anyone reading this knows of any, I would be grateful to hear from you.

I've gone back to review Karr's chapter and note these salient points:

Looking and Seeing: Section Seven: Assignment: Space

I went out with the intention of shooting space - and photographed a lot of stuff that wasn't.  I paused to synchronize, focusing on the breath, the air as it moved around me, the temperature, my posture.  After I calmed down and went looking, I found all kinds of interesting things, but little that might be space, Perhaps I was too concerned with shooting physical space - openings between things.  I think this is what happened in Japan the last time I did this exercise.  I came away with some interesting images, but not perhaps what Miksang instruction intends.

Looking and Seeing: Assignment: Color

21 April
I started reading the book when I was in Japan, but didn’t have much chance to shoot.  I then tried picking up the book and shooting exercises a few weeks later in Tbilisi, but it was difficult to stay focused on the assignments when I had only a few days to explore the city.  Now that I’m back in Dubai and with no projects on the horizon, I’d like to complete this text and the exercises.  So this afternoon I reviewed my notes and set out on the first assignment, color.  I did so in my immediate neighborhood on SZR, but venturing a little bit further afield than usual.  I followed the suggested procedure by setting my intent (seeing for color), synchronizing my experience (mindfulness of the body in space and the experience of the phenomenal world), and being sensitive to flashes of perception.  What I found was restlessness - wanting to find images - and a repeated interest in objects rather than color.  It wasn’t until about 45 minutes to an hour into my 90 minute walk that I found I had forgotten about finding images.  I was simply engaged in my experience of walking and looking.  I will try again Friday and Saturday.  I haven’t yet looked at my images.  I plan to hold them until next week so as not to get caught up in creating images but focusing more on the process of being with the camera.

20-Shot Assignment: Automobile

Like the parking meter shot only moments before, I couldn't produce 20 images of this yellow Camaro.  I actually shot more that 20, but many were variations or not worth reproducing.  Sixteen was a good number for creating a 4x4 collage.

Perhaps the biggest impediment on this exercise was not being in the moment with the work, but feeling put upon to complete an exercise.  I didn't linger as long as I could have.  One concern was being found out by the car owner or some passerby.  It may also be because I was working on an assigned subject, rather than something one of my own interest.

I very much appreciate this type of exercise.  Too often we are in a hurry and don't give ourselves time to see all the interesting little facts of a subject.  I'd like in future to do this with a tree.

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20-Shot Assignment: Parking Meter

Like practicing Buddhists everywhere, the complaint of boredom leads to calls to investigate the condition of boredom.

“Boredom is merely a symptom that you haven’t open your eyes wide enough."