Un soldato rivive la guerra di trincea sdraiato su un mate

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In 1918, just after the first world war, Italian neuropathologist Camillo Negro created a series of science films, as it were, depicting and studying former soldiers suffering from ptsd and other neurological disorders. Negro's early utilization of the moving image - specifically for empirical / medical purposes - constituted a major epistemic shift in society, forever altering how we understand human physiology and memory in relation to this cultural, technological and historiographical phenomenon... thus creating an infinite synaptic, sensorial, informational and emotional feedback loop in which the viewing apparatus - subjectively and inter-subjectively - is both watching and producing the image and its ostensible truth.

Society's conception of memory, history and modernity are therefore inextricably linked to this psychosomatic process of abstraction, and as a result, are thoroughly embedded within the phenomenological application of moving image technology. Similarly, inscribed upon the current historical archive of images are amnesic traces, latent artifacts of memory - truthful or not - which are reconfigured through a constant interplay of past, present and future. Together these dynamics constitute a complex social, psychological and physiological process (that ceaselessly shape our individual and collective perceptions of reality), a process I believe is explicated most cogently in Negro’s early productions (or re-productions) and our forgotten relationship to them.

the eye becoming the image
the image becoming the eye

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