A Quote by Lev Manovich

Once we came to accept the photographic image as reality, the way to its future simulation was open. — © Lev Manovich
Once we came to accept the photographic image as reality, the way to its future simulation was open.
... what is faked [by the computerization of image-making], of course, is not reality, but photographic reality, reality as seen by the camera lens. In other words, what computer graphics have (almost) achieved is not realism, but rather only photorealism - the ability to fake not our perceptual and bodily experience of reality but only its photographic image.
Photographic data... is still and ESSENTIALLY THE SAFEST POETIC MEDIUM and the most agile process for catching the most delicate osmoses which exist between reality and surreality. The mere fact of photographic transposition means a total invention: the capture of a secret reality.
We are entering a world where there won't be one but two realities, just like we have two eyes or hear bass and treble tones, just like we now have stereoscopy and stereophony: there will be two realities: the actual, and the virtual. Thus there is no simulation, but substitution. Reality has become symmetrical. The splitting of reality in two parts is a considerable event which goes far beyond simulation.
There is something irreversible about acquiring knowledge; and the simulation of the search for it differs in a most profound way from the reality.
Sometimes I just think of an image. Basically, I see an image in front of me. My eyes are open, but I visualize an image, very truthfully. It happened with all my movies the same way.
... the reason we think that computer graphics technology has succeeded in faking reality is that we, over the course of the last hundred and fifty years, have come to accept the image of photography and film as reality.
I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience. With these abstract pictures, although the eye recognizes them as photographic rather than painted, the eye also tries to connect them to reality. There's always this association machine working in the brain, and that is why it is important to me that they are actually photographic and not painted.
We know that behind every image revealed there is another image more faithful to reality, and in the back of that image there is another, and yet another behind the last one, and so on, up to the true image of that absolute, mysterious reality that no one will ever see.
Any photograph has multiple meanings: indeed, to see something in the form of a photograph is to encounter a potential object of fascination. The ultimate wisdom of the photographic image is to say: “There is the surface. Now think – or rather feel, intuit – what is beyond it, what the reality must be like if it looks this way.’ Photographs, which cannot themselves explain anything, are inexhaustible invitations to deduction, speculation, and fantasy
We have the need to be accepted and to be loved by others, but we cannot accept and love ourselves. The more self-love we have, the less we will experience self-abuse. Self-abuse comes from self-rejection, and self-rejection comes from having an image of what it means to be perfect and never measuring up to that ideal. Our image of perfection is the reason we reject ourselves the way we are, and why we don't accept others the way they are.
Every part of the photographic image carries some information that contributes to its total statement; the viewer's responsibility is to see, in the most literal way, everything that is there and respond to it.
I've seen descriptions of advanced TV systems in which a simulation of reality is computer-controlled; the TV viewer of the future will wear a special helmet. You'll no longer be an external spectator to fiction created by others, but an active participant in your own fantasies/dramas.
Does the ‘Paranormal’ lie within the margins between the ‘Metacosm’ [a larger reality beyond the macro/microcosms consisting of 10 dimensions or more] and the virtual reality established by the digital simulation?
I started feeling secure in every way once I began to accept myself the way I was. Whether that was emotional, financial or professional security, all of it came and embraced me because I embraced myself.
It is perhaps not a surprise that photography developed as a technological medium in the industrial age, when reality started to disappear. It is even perhaps the disappearance of reality that triggered this technical form. Reality found a way to mutate into an image.
Mental simulation is not as good as actually doing something. But it's the next best thing. And the right kind of a story is a simulation.
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