Memory is capriciously selective, it is only slivers of a scene that are remembered, and these are often brief visual captures of seemingly meaningless detail. During a remembered moment in your kitchen you might remember the counter top and the material it was made of, but forget entirely what was resting on that counter during the memory scene. Dreams are similar, seemingly insignificant details become focal points within the dream structuring the narrative of the dream when in waking life these details may of little consequence. The subconscious works to tell it’s tale with these glance-like details as the visual scenery. If a glance is already a part of remembering and dreaming, both natural processes, there is a validation for pursuing a disciplined approach to capturing glances photographically.
Photography is always a selection of views, tightly editing out what is not selected. This selection is so dominant in photography as a practice that it also limits extra unlikely information that a photo could convey. For example, traditional practices in photography do not reveal much about the posture of the photographer. Photography has always been oriented on the subject, less so on the agent capturing the subject on film. Photography is often thought of as being primarily visual and primarily about the photograph, it is less about the process of capturing the photograph (perhaps with the exception of miksang and photojournalism). But exploring the body of the photographer through the data captured in the photograph might be a fruitful inquiry into the body and it's connection with perception.