An example of how the avant-garde will be able to go beyond the current aesthetic standards imposed by setting up new horizons of exploration and meaning is represented by the experiences of Man Ray and Moholy Nagy, who separately have grappled with the errors in photography.
Talking error in itself implies a break with the order, the norm. The error it is configured as a deviation from what is normally considered "successful", "right" and "good."
But such value judgments are not certain universal, but are set by the cultural references of a company or person, of an era. And for every new advance, or for each new generation, so any new significant change, these thresholds special assessment which revolves around the identification of a context, are moved to a new direction, often resulting in a reversal that rehabilitates what was once the subject of ridicule and disapproval.
In photography the word has many meanings wrong, because it can refer to three types of "mistakes":
- a technique defaillance tool ;
- poor handling of the 'author ;
- an incident in the second half of subject.
The causes and effects of these errors has always been collected and reported in thousands of manuals, lists, tables of photography for centuries, because from the beginning, with the mass distribution of photographic tools, operators amateur could understand how to avoid those flaws known to insiders, to get the picture clean.
What then is a sampling error is very large and well known since the birth of photography, but to give him new light and strength we wanted the look of the vanguard.
The enemy of photography is what is conventional, are the strict rules of the instructions for use. The salvation of photography lies in experimentation. He has no preconceived ideas that experiments on the photograph. He does not believe that photography, as is planned today, and is an exact repetition of the ordinary sight. Do you think that photography errors should be avoided only by a trivial errors of historical conventional.
László Moholy Nagy in Vision in Motion , Chicago 1956
Moholy Nagy was interested in their own audits of self-ombromania, or the involuntary projection of his own shadow on the subject you want to resume. He has made a revolutionary work of signification, voluntarily introducing the black silhouette of the body within the image. The shade, interacting with the subject again, emphasizes the author, focusing on how the camera lens should not be considered an all-seeing eye, but the instrument in the hands of an operator who is in charge.
a wholly contrary to the research carried out by Moholy Nagy Man Ray, painter, sculptor and filmmaker who likes to call Dada " fautographe . His work, rather than to research, tends to discover unusual forms of expression and does so by means of the error, almost like a litmus test that reveals new aesthetic possibilities:
When I did the photographs, when I was in the darkroom, deliberately avoided all the rules, mixing the substances most insane, I used expired film, I was the worst against the chemistry and photography. [...] I took advantage of the accidents. The best scholars have taken advantage of the case.
Man Ray, Man Ray fautographe , 1960
