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My upcoming book Hacking Experience: New Tools from Cognitive Science for Artists is in preparation for Punctum Books (NYC). It's a book that translates cognitive science into tools that radically enhance the way artists tell stories. I design experiences in the physical world as a form of myth making by harnessing attention and spatial rhetoric. I'm also principal designer for Geologic Cognition Society, a post-disciplinary research-driven design group. I've lived in ChicagoEngland, Nigeria, Papua New Guinea, and Hawai'i (among other places), Hawaii made the most sense to me. At the moment, I live in Ohio and I'm exploring the Great Lakes region for a few projects I'm wrapping up.

Find me on Twitter @RyanDewey, or get in touch here.

The implicit body of the photographer: a record of embodiment and viewpoint

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.

If you sign up for my email (below) I'll send you the link to read my 32 guidelines for taking photographs that tap into glances and memory through your implicit presence as the photographer.

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