Fotofiltri restauratiivne nostalgia Aap Tepper. Restorative Nostalgia of Photo Filters Aap Tepper
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1 Fotofiltri restauratiivne nostalgia Aap Tepper Minu magistriprojekt on loomingulise väljundiga uurimistöö, mille keskne teema on nostalgiliste omadustega fotofilter digitaalfotograafias. Käesolev projekt on jätk sotsiaalsele käsitlusele autobiograafilises uurimuses, mis keskendub sellele, kuidas hakkasin tegelema fotograafiaga ja kuidas ümbritsev keskkond minu fotopraktikat mõjutanud on. Demokratiseeritud fotograafiakultuuri abil võtame osa ühiskonnast, milles tarbimise ja tootmise piirid on hägustunud ning algselt professionaalse abivahendina kasutusele võetud fotofiltrid on kohandatud tavafotograafidele. Vaadates kriitiliselt tagasi enda tehtud fotodele ning sellele, kuidas digitaalfoto käitub sotsiaalmeedias, analüüsin fotofiltreid ning nende kasutust Svetlana Boymi restauratiivse nostalgia käsitluse kaudu. Restauratiivne nostalgia lähtub printsiibist, milles mineviku mälestus muundub idealiseeritud hetkvõtteks, mis ei eksisteeri lineaarsel ajateljel. Kaasaegses kultuuris ei ole nostalgia enam kohal ainult individuaalse või rahvusliku-kollektiivse sümptomina, vaid ka konditsioonina, mida on võimalik kutsuda esile, võttes omaks stsenaariume, mille puhul meil puudub läbielatud kogemus. Olen huvitatud sellest, millise lisakihistuse võib lisada fotofilter läbi pildipinna manipuleerimise ning käesolev näitus keskendub trendidele, mis minu arvates esindavad restauratiivse nostalgia retoorikat. Restorative Nostalgia of Photo Filters Aap Tepper My MA project focuses on digital photo filters that have nostalgic properties. It is a continuation of the social aspect of my autobiographic work that looks back at the time I started to experiment with photography. In today s context the everyday photographer gets to participate in a society where the lines between consumption and production have been blurred and the photo filter as a professional tool has been appropriated to the needs of everyday photographers. By looking critically back at the photos that I have made and how the digital image behaves in the context of social media, I analyze photo filters through Svetlana Boym s concept of restorative nostalgia which describes nostalgic longing that perceives itself as truth and sees the past as a perfect snapshot. In contemporary culture nostalgia has become a condition that can be induced by events without memory and I am interested in the additional layer a photographic filter may add. My project looks at image filtering trends that in my opinion represent the rhetorics of restorative nostalgia.
2 Selected images of the photodocumentation of my MA project exhibited at the Estonian Academy of Arts MA graduation show TASE 16
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4 Kodak Brownie Camera that helped to democratize photography The word nostalgia comes from two Greek roots, nostos meaning return home and algia longing. Svetlana Boym, 2007: 7 Technology that once promised to bridge modern displacement and distance and provide the miracle prosthesis for nostalgic aches has itself become much faster than nostalgic longing. More precisely, technology and nostalgia have become codependent: new technology and advanced marketing stimulate ersatz nostalgia for the things you never thought you had lost and anticipatory nostalgia for the present that flees with the speed of a click. Svetlana Boym, 2007: 10
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7 Refleksioon: puhastamine Autori fotoalbum Video Reflection: cleaning Author s photo album Video
8 Jõudsime järeldusele, et filtrite kasutajate seas on kaks rühma: tõsised ja vaba aja fotograafid. Tõsised fotograafid võtavad filtreid kui korrigeerivaid tööriistu ning eelistavad leebemaid efekte. Vaba aja fotograafid, vastupidi, kasutavad filtreid selleks, et muuta nende abil oma fotod oluliselt efektsemaks. Jõudsime ka sellele järeldusele, et filtreeritud fotosid vaadatakse 21% suurema tõenäosusega ja need saavad 45% suurema tõenäosusega kommentaare nii tarbijate kui ka fotograafide poolt. See kehtib eriti soojust, valgustust ja kontrastsust võimendavate filtrite puhul. Saeideh Bakhshi jt, 2015: 1 We find two groups of serious and casual photographers among filter users. The serious see filters as correction tools and prefer milder effects. Casual photographers, by contrast, use filters to significantly transform their photos with bolder effects. We also find that filtered photos are 21% more likely to be viewed and 45% more likely to be commented on by consumers of photographs. Specifically, filters that increase warmth, exposure and contrast boost engagement the most. Saeideh Bakhshi jt, 2015: 1
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10 Warm Suspension of Disbelief Valik sotsiaalmeedia platvormi Instagram filtreid: (Selection of filters from Instagram) Mayfair, Rise, Valencia, Hefe, Nashville, Lark, Slumber, Aden Pigmentprint vitriinraamis 50 x 35 cm
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12 #nofilter Reaalajas fotovoog Instagrami teemaviite (hashtag) #nofilter alt (Live feed scrolling from Instagram s hashtag #nofilter) Ühekanaliline projektsioon, sülearvuti (One-channel projection, laptop)
13 Instagram ja võrgustunud kaamera toimivad seega kasutajaliidesena, mida mõjutab ühelt poolt tegelik kogemus ja teisalt kujuteldav nauding ning mille manipulatsioonid kuvanditega sütitavad unelevaid naudinguid. See liides on subjektiivne selles mõttes, et ta on enda poolt konstrueeritud ja ka in situ enda poolt tarbitud läbi prosuumsete praktikakombinatsioonide, afektiivsete raamistamiste (tuju või iha väljendavad pealkirjad) ning performatiivsete kompositsioonide. Samal ajal on see ka intersubjektiivne, sest rõõmust, ihast, harvemini ahastusest või vihast kõnelevaid tundeküllaseid pilte pakutakse tarbimiseks teatud publikule, pidades silmas vaatajate võimalikke reaktsioone ja huvisid. Aaron Frey, 2012: 51 Instagram and the networked camera thus emerge as an interface, that is, a point of interaction, between lived experience and imaginative pleasure, allowing the manipulation of appearances to inspire pleasurable daydreaming. This interface is subjective in the sense that it is self-directed and selfconsumed in situ through the prosumptive combination of practice, affective framing through captions that indicate mood or desire, and performative composition. It is also inter-subjective in the sense that emotive images of joy, desire, and less commonly despair or anger, are published for others to consume and with other s potential responses and interests in mind. Aaron Frey, 2012: 51
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15 Minu arvates iseloomustab inimese suhet mineviku, kujuteldava kogukonna, kodu ja enesetajuga kaks erinevat nostalgia liiki: restauratiivne ja refleksiivne. [...] Restauratiivne nostalgia rõhutab nosto st ja pakub välja kadunud kodu taasloomise ning mälutühikute täitmise. Refleksiivne nostalgia püsib algia s, igatsuses ja kaotuses, ebaperfektses mäletamisprotsessis. Svetlana Boym, 2001: 41 In my view, two kinds of nostalgia characterize one s relationship to the past, to the imagined community, to home, to one s own selfperception: restorative and reflective [ ] Restorative nostalgia puts emphasis on nostos and proposes to rebuild the lost home and patch up the memory gaps. Reflective nostalgia dwells in algia, in longing and loss, the imperfect process of remembrance. Svetlana Boym, 2001: 41
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