INTIMIDATING DIGITAL LOSSES: WHAT’S BEYOND THE RESOLUTION?_
There’s a point in our life’s where is imposible scape from the cloud, we can run but never hide from the big brother. After we realize this, we are never the same, there’s no turn back.
The digital life have been edging our life to adopt and consume technology as a sub-medium. In the assumption of Manovich, one of the paradoxes of the digital photography, talks about the virtual world impacting the real world. But before going there the question will be; how real is the virtual-world and how much of virtual has the real-world?
Sure thing will be talk about how technology in digital photography has change our worldview of the real-world and how our easy access to it due personal devices have became the hypertext of our lucid reality.
“Digital photographs function in a entirely different way from traditional lens and film based photographs. For instance, images are obtained and displayed by sequential scanning; they exist as mathematical data which can be displayed in a variety of modes sacrificing color, spatial or temporal resolution. Image processing techniques make us realize that any photograph contains more information than can be seen with the human eye. Techniques of 3D computer graphics make possible the synthesis of photo realistic images yet, this realism is always partial, since these techniques do not permit the synthesis of any arbitrary scene“ 
In a fast growing technological world, human kind apparently walks on a different peace than the developers and specialists in the topic. Its remarkable how in our days the achievement of realism is the main purpose of the future of visual consumption, anyhow unfortunately or maybe fortunately the bast majority of pictures we see, share and consume are in lossy .jpg, music in lossy .mp3 and videos in pixelated .mp4 or .avi.
The access to this visual hunger let us in between the digital loss and resolution.
Digital artists as Ryan Maguire with his “MoDernisT” project or Rosa Menkman with “beyond resolution” & “about xilitla” and the experimental work of “plastic photography “ by Paff Stone, breaks a great path to explore in the visual media art and the quantification through these. It may let see us a tinny ray of light to dictate how real is the virtual-world we’ve create, and how much of virtual has the “new” real-world we live in.
On proper words of McLuhan: “when the people have been strip off their private identities they develop a huge nostalgia.” Are these gaps of information and digital loss in our visual resources has become a unconscious way to humanize our digital approach? Are we trying to merge a machinic/emotional point of view? Are we becoming a species of data?
until then…. we are still humans and after all we all have to walk thru the uncanny valley.
- Lev Manovich, “Assembli ng Reality: Myths of Computer Graphics,” AFTERIMAGE 20, no. 2 (September 1992): 12-14