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Through the creation and proliferation of the strobolume and chronophotography, rapid alternation of an electric filament light syncopated to an array of camera lens firing in steps seriatim, exposing sensitive collodion plate to the opening of a shutter window, a rapid burst of photographs over an interval of time coalesces into the ensoulment of an image world, that under careful conditions of preservation, may ultimately even outlast its creator. The camera enables one to possess a world where one would otherwise be vulnerable. The optical theatre represents the industrialisation of experience, of memorialisation. The knowledge gained from this image world is inevitably one of sentimentalism, of nostalgia.
To know the world through a photograph is to accept the world and its symbols as the camera records it; but this is the opposite of understanding, which begins by not accepting the world as it appears.
