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On Detail in Detail: Reaching a Stat...

Kwon, Soon-Hak.

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On Detail in Detail: Reaching a State of Nothing.

Record Type:	Electronic resources : Monograph/item
Title/Author:	On Detail in Detail: Reaching a State of Nothing./
Author:	Kwon, Soon-Hak.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2024,
Description:	148 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-12, Section: B.
Contained By:	Dissertations Abstracts International85-12B.
Subject:	Language. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31173604
ISBN:	9798383012109

On Detail in Detail: Reaching a State of Nothing.
Kwon, Soon-Hak.

On Detail in Detail: Reaching a State of Nothing. - Ann Arbor : ProQuest Dissertations & Theses, 2024 - 148 p.

Source: Dissertations Abstracts International, Volume: 85-12, Section: B.

Thesis (Ph.D.)--Royal College of Art (United Kingdom), 2024.

When discussing detailin the context of photographic images - a medium much concerned with verisimilitude and exactness, historically speaking - the mutability of this particular linguistic item comes to the fore. Used to describe an image that exclusively depicts one component understood to be part of a larger whole within its limited frame, the term functions as an image-category descriptor, commonly used interchangeably with 'close-up'. But the term is also applied to images (or aspects thereof) far removed from that category, wherein 'detail' might refer to the capacity of a given imaging technology to resolve apprehensible visual information, a plane of optical focus, a subject, an aspect of fore/background, or any element of the composition included intentionally or incidentally within the frame. Each of these aspects of images are open to subjective scrutiny in terms of their capacity to inform, signify or otherwise inflect the viewer's experience of both the image itself and what is implied to exist behind and beyond the frame. The relative arbitrariness of detail as it is commonly (and liberally) applied in this context, then, points to the unpredictable, multifaceted, rhizomatic and metonymic nature of the term. Detail, in standard noun form, refers to an individual fact or item; in the absence of a complete information field to provide context and nuance, it can present an incomplete or distorted account of what it purports to represent. The phrase 'in detail', conversely, means including or considering all the information about something or every part of something. As such, the meaning of the phrase is analogous to elaborating, specifying and carefulness. The idiom "The devil is in the details", for example, expresses the importance of detail: whatever should be done, one should do it thoroughly; there are specific elements of the situation that have to potential to cause later difficulties if not carefully considered and addressed at the outset. Another idiom -that does not contain the word specifically, but clearly refers to the concept of details- is "Not seeing the wood for the trees". The idiom serves as a warning against over-concentration on details, lest one damage their understanding of the larger endeavour of which those details are a part. Details captured in photography are essentially different from both these vernacular linguistic references and other image-producing technologies in terms of the viewer's relationship with the object. These details are beyond physical comprehension regarding memory, time and space. The photographic punctumelaborated by Roland Barthes denotes a photograph-viewer encountering a wounding, personally touching detail that establishes the unexpected perception of a direct relationship between themselves and the object or person depicted in the photograph; a relationship that is entirely subjective, deeply affecting in the sense of a Lacanian trauma, and drawing its particular affective import from -in large part- the indexical nature of the photographic image. This practice-based research paper proposes that characterisation of the photographic detail and its associated perceptual and affective potentials as nothing (or nothingness) offers both an expansion of the enduring concepts of indexicality and punctum and a productive frame through which to critically assess the role of detail and perception in contemporary photographic, cinematic and virtual reality media.

ISBN: 9798383012109Subjects--Topical Terms:

643551
Language.

On Detail in Detail: Reaching a State of Nothing.
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520 $a When discussing detailin the context of photographic images - a medium much concerned with verisimilitude and exactness, historically speaking - the mutability of this particular linguistic item comes to the fore. Used to describe an image that exclusively depicts one component understood to be part of a larger whole within its limited frame, the term functions as an image-category descriptor, commonly used interchangeably with 'close-up'. But the term is also applied to images (or aspects thereof) far removed from that category, wherein 'detail' might refer to the capacity of a given imaging technology to resolve apprehensible visual information, a plane of optical focus, a subject, an aspect of fore/background, or any element of the composition included intentionally or incidentally within the frame. Each of these aspects of images are open to subjective scrutiny in terms of their capacity to inform, signify or otherwise inflect the viewer's experience of both the image itself and what is implied to exist behind and beyond the frame. The relative arbitrariness of detail as it is commonly (and liberally) applied in this context, then, points to the unpredictable, multifaceted, rhizomatic and metonymic nature of the term. Detail, in standard noun form, refers to an individual fact or item; in the absence of a complete information field to provide context and nuance, it can present an incomplete or distorted account of what it purports to represent. The phrase 'in detail', conversely, means including or considering all the information about something or every part of something. As such, the meaning of the phrase is analogous to elaborating, specifying and carefulness. The idiom "The devil is in the details", for example, expresses the importance of detail: whatever should be done, one should do it thoroughly; there are specific elements of the situation that have to potential to cause later difficulties if not carefully considered and addressed at the outset. Another idiom -that does not contain the word specifically, but clearly refers to the concept of details- is "Not seeing the wood for the trees". The idiom serves as a warning against over-concentration on details, lest one damage their understanding of the larger endeavour of which those details are a part. Details captured in photography are essentially different from both these vernacular linguistic references and other image-producing technologies in terms of the viewer's relationship with the object. These details are beyond physical comprehension regarding memory, time and space. The photographic punctumelaborated by Roland Barthes denotes a photograph-viewer encountering a wounding, personally touching detail that establishes the unexpected perception of a direct relationship between themselves and the object or person depicted in the photograph; a relationship that is entirely subjective, deeply affecting in the sense of a Lacanian trauma, and drawing its particular affective import from -in large part- the indexical nature of the photographic image. This practice-based research paper proposes that characterisation of the photographic detail and its associated perceptual and affective potentials as nothing (or nothingness) offers both an expansion of the enduring concepts of indexicality and punctum and a productive frame through which to critically assess the role of detail and perception in contemporary photographic, cinematic and virtual reality media.
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