Based on further research and experimentation, I propose universally deconstructing and reconstructing observations and recordings, to objectively discover what triggers perceptions of reality and how to encourage or interrupt that.
Creating and distorting perceptions of reality from my own ephemera, reproducing multiple versions of photographs, manipulating them into paintings and back again into photographs to look for deeper meanings as in Barthesian mythology.
As mooted by Samuel Taylor Coleridge (1772 - 1834) in his Biographia Literaria; it is 'The willing suspension of disbelief that constitutes poetic faith'. Or the difference between watching a real fight and a stage fight as hamlet put it actors 'do but murder in jest'.
My previous investigations into pinhole photography seem to invoke the past, acknowledging value in the weight of documentary photographs and this medium would be well suited to the task of introjecting individual and collective realities. It was Barthes who observed that photography originally depicted the remarkable but eventually things became remarkable just by being photographed.
How a smaller force that looks uniform and is organised gains power, signified by those signs and can control a much larger crowd for example the British in India, nazis in Germany and riot police worldwide. The perception overwhelms the reality, both collectively and individually, in order to stand up to such force there will inevitably be casualties before that force is overwhelmed.
"Visual purism: can be a metaphysical imprint of reality.
Visual purism and emanations of the real world - fingerprints of reality.
The image thus obtained constitutes, first and foremost, the essence of existence [...] confirming that what we are looking at truly did exist, as Roland Barthes indicates in Camera Lucinda
Pinhole photographs are existential traces left on light sensitive material by the light that previously touched people and objects.
Since it is not possible to focus on a selected object everything is equally clear and thus, equally importance.
Staging: an utterance utilising reality as its construction material.
Staging of worlds created with light: reality is both a theatre stage on which they conjure up fantastic worlds and a battlefield where they challenge what they consider false ideas about the world.
Here, light appears as director and whistleblower; masks are employed in exploring the depths of the human psyche and in debunking stagnant thought patterns and exposing the invisible mesh woven by ideologies." (2014 Renner, p 24-32)
I could have drilled down into one of the above, but I have already inadvertently combined them both by introducing models into the landscape. So I will push further by manipulating the cameras, film and the developing process as well as influencing the 'reality' before the camera.
I am limiting myself in the choice of location by only photographing the landscape from Carn Gelli. I want to show how an individual place can be haunted by ghosts of the past and tormented by an unwritten future. A look out post was set up here by the French force during the infamous 'Last French Invasion' 1797. It will make the project awkward, just as taking pinhole photographs is restrictive in the number of exposures possible; this will serve to force focus and deliberate the decision making.
For exhibition purposes I propose to construct a box or boxes that can be sent by courier, The boxes come with instructions and are opened like concertinas, all sides are displayed and they are all artworks, it is up to the recipient to decide how to curate. Lock down is an exciting challenge, how to exhibit, finding ways out or in.
How are our perceptions affected by being boxed in during lock down? Looking inwards, perhaps a box diorama containing mirrors, objects and lights, maybe transparencies, painted surfaces that are viewed by looking into it. That because of the internal reflected surfaces reads as a 'tardis', transmitting back the photographic reproductions of perceptual reality and sapience in the human mind, kaleidoscopically as a 'collidingscape'.