Mental Health and Wellbeing in the Anthropocene by Jamie Mcphie

Author:Jamie Mcphie
Language: eng
Format: epub
ISBN: 9789811333262
Publisher: Springer Singapore

Photos

[T]he photographer is seen as “a kind of ideal observer,” a stance which “implicitly denies that picture-taking is an aggressive act,” something photographers usually feel obliged to do. Ansel Adams urges that we say we “make” a picture, not “take” one. (Sontag, 1977, p. 123)

‘All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt’ (Sontag, 1977, p. 15). Hodgetts et al. (2010) suggest that photographs ‘provide insights into the practices through which’ people construct themselves as ‘socio-geographically located and mobile human being[s] across time and space’ (p. 290). So we are able to jump back in time synaesthetically with the aid of a photo (traditionally thought of as a visual stimulation) to conjure other sensory memories, perceptual qualities such as sight and sound that are associated and merged with proprioceptive, haptic and affective qualities such as feeling. In the film Memento (Nolan, 2000), Leonard does the same (although for very different reasons) using annotated Polaroids as a part of his memory bank but not merely as a stimulus. Leonard intra-acts with them (not over-and-against them). For example,

telephone numbers stored on a mobile phone may serve as an extra-cranial memory, an extension of our own memory that we don’t simply ‘use’ as a source of memory stimulation. Rather, the phone is actually imbricated as part of our cognitive processing. (Mcphie, 2016, p. 49)

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