Omniscience. Now that would be the epitome of perfection! To be within it all; encompassed; surrounded and surrounding. A gestalt approach to existence. You are the cage; you are the sand; you are the cat; you are the mouse. You are the camera; you are, potentially, human.
The gestalt approach is most often used in dream therapy and calls for the dreamer to role play and identify with each part of the dreamscape. i skipped gestalt 101 but its not rocket science and its quite easy to grasp. We understand that a cage is an object designed only to confine and reluctantly free; that sand is illusionary and slips too easily between loosened fingers – from one end of the hourglass of love to the other end of loss or hate. We understand that every story has two polar opposites; lovers and haters; friends and enemies – protagonists and antagonists.
On a not so complete tangent: photography is the selfish craft of capturing your perspective and pawning it off as omniscient objectivity. To force another to believe in the reality of the contents of the frame. The shot will invariably land in albums, web-galleries, blogs etc and because it is deemed an actual image and not an artist’s painted perspective, everyone will believe and accept whole-heartedly, unreservedly, religiously even, that the images and words neatly printed and bound are reality.
Personify the sand; be each grain filling a blank canvas, coating its emptiness with deceptive intentions. You are the prey flying behind the hunter; you are the shifting ground the prey spins upon; you are absorbing the blood of food chain victory. This has become survival of the fittest. The cat is caged, a hunter confined. Yet, this creature is proud, sleek. she is confident and dominating while maintaining a natural state of relaxation. Every movement of bone beneath skin is revealed without care. The predator usually wins – any deviance from this lends to madness. Once established that death is eminent, acceptance should naturally ensue. The mouse’s cage is delicately placed in an opposing corner; the latch is removed and the victim is released from this detention chamber. You refuse to role play this underdog; it is not a positively calculated risk; mathematics and science do not enter this equation. A hopeless predicament bound to the constraints of history and the rigid and unmoving laws of nature’s wilderness. Thus, the only option available is to run in panicked frenzy from the hunter’s thirst for blood.
Voyeurism, in mainstream society, is often frowned upon as an immoral act of cowardice. Yet the camera is a part of this human, merged into the body as if this very machine was a new and currently unidentified limb eagerly waiting for nature to appear in the artificial; waiting for the prey to be gloriously defeated without challenge. The mouse runs, the cat chases; a primal re-enactment of conflict at its most crude and basic moment.
Anything chased will inevitably run away. So don’t chase the scene; let the scene chase you, reveal itself to you; your anticipating eyes open wide watching as the cat approaches its prize. Watching as the mouse turns, spinning above the uneven ground, tiny claws out, teeth exposed. The mouse screeches, refusing to be taken without some resistance.
Click. Flash. The moment is captured like perfection before the sacrifice to more powerful beings, happily ingested. The image returns, birthed as nature obscures the artificial. The sand is now real; the cat is real; the camera is real; omniscience is real.
Humanity is artificial.