Good overview. I’ve been working on something similar for today’s world of ubiquitous photos. Mainly, I’m looking for a system of breaking out from the paralyzed cyclops view that the camera has us all married to (some more of my attempts here). *

How exactly should one see the world? How exactly to capture it? This view above increase the mobility of the camera, but how much time and space does it add?

As your piece notes, this isn’t an entirely original endevour**, as painting dealt with it more than a 100 years ago. But I do want to know how to see things differently (it’s not easy, that’s for certain) in terms of photographs. This can be simply expanding from the single photo of a single scene.

But it can be much more. How do we best represent a travel experience? Is a map truly the best way to think of it? I mean, it’s a useful tool, but it’s not really how we (the conscious part we) experience even a road trip, now is it?

Take this art piece by Jen Urso. What we have is the drawing of what was experienced everyday, erased, then penned over with what stuck in the memory (she has another method for a map). Here we are moving far away from the idea of a photo, but how would we best represent those pics we take (I have 10,000) on our phones?

I’m asking because I really don’t know. (this counts as an experiment; failed, as it were)

I look forward to hearing from people who can help.

*Note that the paralyzed cyclops is a term from David Hockney who came up with the idea of photo joiners half a century ago, almost (here are some of his)… He has some supremely interesting ideas about perspective in general and how camera obscura influenced the Renaissance (and thus Western) art and how that idea isn’t always the best way to represent a scene.

**Indeed there are some people struggling with the issue of experience and representation here on Medium. Some others I’ve found, so far, are Brian Romer Mark Heyer. Add more to the list as needed, please.