![]() ![]() ![]() This somewhat awkwardly ignores our fascination with ruins and ruin images it suggests that we should privilege how our eyes and bodies experience ruin landscapes and it perhaps implies that the only “authentic” representations of ruins can come from residents and people who can somehow lay claim to ruined places’ narratives. Much of the uneasiness with ruin photography laments the camera’s gaze as a selective and seemingly distorted representation of our visual and physical experience of an objective reality: that is, the implication is that a photographer frames landscapes in selective ways, and the realities confirmed by our eyes are somehow corrupted by digital filters, High Dynamic Range imaging (HDR), and camera lens filters that toy with color balance, light intensity, and nearly every dimension of a photographic image. That flood of so-called “ruin porn” has unleashed a complex breadth of artistic creativity as well as anxieties about the social implications of gaze and how we see, photograph, and imagine architectural remains. A host of photographers, community historians, and self-styled urban critics have produced a fascinating visualization of the architectural detritus of cities, industry, and various failings of modernity.
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