Semiotic Drift

012 · Pixels

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[P]hotographs are particularly valuable to later generations of a family, allowing them evidence to better reconstruct the tale of their past.1

The key word here is ‘reconstruct’. A photograph from the past records a moment. Its why and how remain absent. Something happened. Someone stood there and light hit them.

Photographs, as objects, give us more to work with. The size of the prints. The paper stock. The smell of the album they once lived in.

I held the photograph in my hand, knowing it had once been held by the person it showed. There was comfort in this. The past had a physical presence.

How would those in the future remember me?

As a cloud-saved photograph on a backlit screen?

The photograph might survive me and still remain beyond their reach. Behind a password. In a server farm.

Pixels like grains of sand falling through their hands.

  1. Glorianna Davenport, ‘Salvaged Photographs’, in Evocative Objects: Things We Think With, ed. by Sherry Turkle (Cambridge, MA: MIT Press, 2007), pp. 217–22 (p. 222).