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Aloi The series

What's the point of the series? It is easier up the story. Many pictures, so many worlds so many stories in which power operates serialization sorting. The story the more open one that would not include a photo and the story as "writing" is the one with the more narrative elements, power stories, guided in turn by the photo caption.
Each photo is a story of promise that awaits the viewer's eye to happen.
Perhaps the series allows it time to reintroduce the illusion of a timeline. The Story 93, "first names in the timeline" is also a tribute to the living and the dead. Narrative puzzle, whose unit will come when all the pieces of light-biographemes- be matched.

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Machado, yet















This quote, "Ojo que ves / ojo no es porque lo CEAS / es ojo porque te ve "legend story 67 a picture where the eye is directed; narrative is essential since the essence of photography it is here. What exchange is at stake when you photograph? What becomes that, that, which is determined by the photo? There is always, like it or not, the predatory aggression of the target, which makes an object being photographed. But what the photographer said here quoting Machado is the integrity of his action that preserves the other manipulated by a report. The subject matter remains, the look is light.

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The letters in the picture

It is a tenuous network that I like: one that deploys literary guilds. I enjoy finding Jean de La Fontaine in the story 34 , "The Cat and the pigeon" on unresolved legal foot-dragging in the volatile La Rochefoucauld in the title story 40, where the penetration of the spirit embodied in a cat who humorously gets through a gap; Antonio Machado in the story 67 (ojo that ves / ojo no es porque lo CEAS / es ojo porque te ve "," The eye you see / is not added because you see / it is added because he sees you "), Jorge Luis Borges in the title story 37 (" Fervor de Buenos Aires "), Blaise Cendrars's" Prose of the Transsiberian and the little Jehanne of France ", which is thought to account 73; Deleuze for 71 story. And the ones I missed because they were moving too ...

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Ubiquity

Inventory: I am trying to exhaust where it has drawn, in the magic of ubiquity: every place crushed. So

:

France, China, Argentina, Laos (the center is in two places, everywhere, nowhere), Uruguay, Russia, Bolivia,

South Atlantic, Lithuania, Poland, Peru, Gambia, Chile, Brazil, Austria, Cambodia ...

(and Laos is a reminder that there is no single place, or rather the site is unique because the artist has trodden (the photo of his foot back as a discreet reminder of his status as a walker) he united them in a series of "stories").