Fotografia jako próba odrealnienia przedmiotu przedstawienia

Photography in the Process of Producing Dreamlike Images of ObjectsPhotography, by its nature, possesses a strong documentary paradigm. The challenge for photographers to transform photography into image of art was very ambitious, they had to cause the documentary character of photography to direct the viewer not only to the object being presented but also to the specific ideas, to cause certain associations, establish new semantic codes, present the object in unusual, highly semantic way. In such perspective the photographic image, similar to modern painting, refers to over-phenomenal meanings, becomes a visual sign by the fact that it proposes particular way of viewing the object or event, refers beyond the photographed object, possesses dual referential-narrative power. On one hand it is the document confirming the real photographed object but on the other hand the photographs seem unreal, excluded from the world available for visual perception. Such visual-cognitive polarization is undoubtedly the value of photographic image and places it in the art context. These means of presentation refer mostly to perceptive uncertainty of the viewer. The sense of visual articulation is based on knowledge dialectics on existing object and impression of unreality of the photograph being viewed. Such quest of photographers was on one hand the escape from simple reference of object appearance in photography, and on the other hand it was rooted in a strong confidence of documentary character of photographs.Photography in the Process of Producing Dreamlike Images of ObjectsPhotography, by its nature, possesses a strong documentary paradigm. The challenge for photographers to transform photography into image of art was very ambitious, they had to cause the documentary character of photography to direct the viewer not only to the object being presented but also to the specific ideas, to cause certain associations, establish new semantic codes, present the object in unusual, highly semantic way. In such perspective the photographic image, similar to modern painting, refers to over-phenomenal meanings, becomes a visual sign by the fact that it proposes particular way of viewing the object or event, refers beyond the photographed object, possesses dual referential-narrative power. On one hand it is the document confirming the real photographed object but on the other hand the photographs seem unreal, excluded from the world available for visual perception. Such visual-cognitive polarization is undoubtedly the value of photographic image and places it in the art context. These means of presentation refer mostly to perceptive uncertainty of the viewer. The sense of visual articulation is based on knowledge dialectics on existing object and impression of unreality of the photograph being viewed. Such quest of photographers was on one hand the escape from simple reference of object appearance in photography, and on the other hand it was rooted in a strong confidence of documentary character of photographs