Camera art for reconstructions of perception and time

Includes bibliographical references (page 8)Includes digitized images in JPEG and TIFF formats.???.. in the spirit of M. Proust, I acknowledge that ???the real voyage of discovery consists not in seeking new landscapes, but in having new eyes?????? (1871 ??? 1922). The media I have investigated are photography and painting. In photography, the sequential and fragmentary aspect of the camera, its use as an extension of the brush or pencil, i.e. tool, to provide structural formations, have been explored. Multiple viewpoints, angles, distortions, characteristic of the camera, can be applied to more fully experience an object observed in space. The dual nature of the camera (positive/negative) is symbolized in the sections left out and those included. Through unfamiliar juxtapositions, our perception, based on the familiar, is both disoriented and directed in an integrated way of seeing, including a kinesthetic sense. By using the landscape and familiar objects, an identification of the observer with my point of view is promoted. Each individual part is a completed image, yet the work is to be read as a whole. In painting, the emotional quality and fluidity of paint complements, for me, the impersonal photographic materials of chemicals plastic. By superimposing the camera-image over paint, I reversed the process used until now. This has opened up new possibilities for photography as well as painting. To keep the integrity of the plastic allowing the wall to become part of the work. The motivation behind this methodology stems from my interest in the subjective/objective nature of perception. Perception relies largely on relations rather than absolutes. In sensory experience generalities precede particulars, the organization of which takes place in the mind. The perceptual transaction in itself is fundamentally an innovative act, i.e. thinking. A prerequisite of our ability to think is the construction of internal representations of external events; mental simulation thus is the essence of thought. A nexus between art, especially photography, and the psychology of perception seems like a natural process. Through photographic reconstruction empirically based facts, the ultimate purpose of art is to develop a more conscious and intimate approach to the myriad of processes going on inside as well as outside our bodies. This includes the notion of being part of something far greater than ourselves, a concept called ???Satori??? in Zen Buddhism??