The apparently non-symbolic, objective character of technical images leads whoever looks at them to see them not as images but as windows onto the world. This lack of criticism of technical images is potentially dangerous at a time when technical images are not only symbolic but represent even more abstract complexes of symbols than traditional images.
Each technical image is a game between the photographer and the camera apparatus.
By investigating the spaces of discontinuity, the camera obscura’s abyss, through which the photograph passes, its innate fabricationalism becomes dangerously evident.
In these red rooms, new windows develop. They reveal the invisible - what happens in the red abyss?
“The aim of any single photograph is — as Adorno says — the disclosure of the ‘logic of being produced'.