Four Images Between Two Impossibilities

Didi-Huberman placed four photos from Auschwitz with two possibilities. These two impossible features come from the imagination that neither can imagine nor recognize events occurring in Auschwitz concentration camps. This non-representative behavior is achieved through the actions of S. S concealing the extinction of the Jews as state secrets. The system to destroy the Jews was explained by Didi-Huberman as a machine aimed at destroying Jews and eliminating the possibility of representing genocide.

Since the relationship between this theme and the image it scores is very common, it is virtually impossible to separate them from one another and they are inevitably constrained by this expression. Therefore, the function described is that the presentation of the music may be outside the context of the image. We always associate the theme of these two notes with "good, bad, ugly" characters, but we also always associate the feelings, emotions, and emotions of the film (romantic and stylized version, Western , Heroes, betrayal, music and these implications can transcend the image background of the movie through "backdoor" emotions embedded in our heads, music implications can be provided

The biggest problem of movies and numbers is the quality between the two. Film pictures have organic and coarse images, not clear images of superpixels that numbers can produce. There are many discussions about movies and digital technology. The overall cleanliness of resolution, particles, and even the image is the main factor in the discrepancy between the two. Digital images can be easily operated with post production programs such as Adobe Photoshop. Many photographers believe that digital photos are wrong to the audience. Film photography can really show the honesty and vision of photographers. However, many photographers' work may be blurred in graphic arts, which is like the idea of ​​manipulating pictures.

What is the difference between self-portrait and self-portrait? The new exhibition at the San Jose Museum is trying to distinguish between the two modes of self-expression of photos, the long tradition of artists who play with themselves using the imaging of the Internet era and cameras. This pursuit is about as long as the photo shoot itself when the early operators began using the camera as a way to propose through new media. Like today's mobile communications, pictures are causing dramatic changes in information and vision. When famous 19th century photographer Nadal took his picture in 1863, he was not just dressing up: he was experimenting with the latest self-expression tool.