ABSTRACT
This book has offered a series of detailed examinations of the temporal dimensions of a variety of ubiquitous, yet unstudied, photographic practices. In doing so, it has argued that the medium possesses an endless range of ways to express the phenomenon of time. It is not enough to consider only the making of such images without exploring the way they express time, and the way these representations are received. Indeed, photography has been invested with restless anxiety about time’s impermanence and changing experience in the midst of an age of such rapid change. Therefore, this book has argued that the urge to reclaim and express time’s multifarious experience has inspired the photographic “atomizing” of time, the creation of changeable, viewer-created narratives, practices involving altered recording fields that challenge the usual view of photographic instantaneity, and digitally synthesized montage/composite “hypothetical” data-visualization images. Photography reveals itself to be a means for exploring the effects of the perception of contingency anxiety and temporal convolution in the ages of technological modernity and postmodernity.
