There is a transparency in this manufactured piece of paper. Decoding of information which has been processed and has travelled through time and space to become what it is now. It has gone through the very essence of transformation. starting from what has actually existed, it has mutated into an entirely different state of being. what has not been in front of the enigmatic lightbox can simply not be shown in its final state of its actualisation. Yet it shows what was neglected in the exact moment someone froze it. As if it wants to show what we forgot, in its eidetic manner. incarceration of nature and materialisation of light, all at once, it has been captured by both man and tool. In its becoming it has started out as a shimmer of light, later composed, imprinted, processed, manipulated and finally; actualised. But to more than just an object, rather a thing. All to convey the beliefs of its appropriator. And in its final form, it has become a matrix of realities, reserved for its beholder to conclude the inconcludable. One decrypts this manifestation of light, to see what has once been, and in doing so, one perceives the world in yet another form. How did it come about? What exactly does it become when it is no longer light? It is in its own being, the perception of existence.  

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The project I/O, consisting of a photo book and a video installation, challenges the theoretical aspects of the ‘New Theory’ on a practical level and inquires into the boundaries of what a photograph actually is when it is digitised and converted into 1’s and 0’s. By manipulating the photographs in the software Dragonfly – used to create models for analysis and works by analysing light-intensity of pixels – the photographs are transformed and investigated. The soundscape fo the video installation was created using the software Audacity, where the binary code of a photograph is converted into sound rather than a visual output. The project also addresses the question of agency, a question which has been a constant in photographic theory, by asking who the author is: nature, apparatus or photographer. Finally, I/O seeks to understand when a photograph stops being a photograph, and starts being something else.