The Rhythm of Simulacrums Behind The Realistic Signs in Carole Touati's Snapshots … Dr. Mohammed Sameer Abd Elsalam Carole Touati continues, in her artistic enterprise, capturing the figural, musical and poetic impacts of realistic signs such as, women, clothes, buildings, metaphoric human shapes, streets, bodies, lights and darkness. All of these signs reflected the relative presence of the moment in the cognitive world of the photographer and also the other aesthetic rhythm of the scene. So, the scene has many interacted semantics behind its material signs. The eye of the photographer, in some of Carol's snapshots, wanted to reveal the simulacrums beyond the space or its dreamy presence through the aesthetic structural discordance between the deepness of darkness and the open peaceful and dreamy area behind the light. Therefore, she returned to the cultural significance of the color in the modern context of creating the individual identity of the sign of the woman. Therefore, the snapshot implied to field of the realistic moment, its phenomenal incarnation and the several probable impressions in the future. *Some modern and postmodern elements behind the structures of signs: We can recognize many modern and postmodern elements behind Carol Touati's snapshots, that she reflected the transcendence of modern buildings, and also she revealed, in the same scene, some hidden geometric shapes and some cosmic signs, such as clouds and trees in a dreamy or romantic impact. So, she wanted to view the height of the modern building in other abstract and cosmic contexts which supported the multiplicity of the interacted powers of the scene. She also reveals the hidden metaphoric significations of reality, especially in the street snapshots, that the street appeared as a poetic space or it included some harmonious relationships in a particular context. So, the eye of the photographer can recreate another marginal and interacted views behind the basic objects of the scene. Carole also celebrated some iconic signs, such as dancing shadows or human shapes on the walls of some streets which reminded us of the concept of simulacra and simulacrum according to Baudrillard's thought and photography, that the imaginary shapes can affect in the real attitude, and we can see that in Carol's snapshot which included the silent dialogue between the woman in red and the shape on the wall. In his book Camera Lucidia, Roland Barthes confirmed that the semiotic of photography art was based on thinking of the probable and the mysterious, and it imported the masks to make the meaning less acute. (1) Consequently, we can see these mysterious impacts behind the several interacted relationships between the signs in carole Touati's snapshot. So, these relationships and the creative hidden shapes of reality can make many poetic fields and significations beyond the basic signifier of the photo. Moreover, we can interpret some signs of Carole's snapshots according to the semiotic theory of Charles Sanders Peirce which was based on the dynamic relations of sign, object and interpretation acts. Peirce thought that the iconic sinsign reflects the idea of an object, and it confirms the pure likeness or it appeared as a sign of essence. (2) Therefore, we can see the iconic sinsign in Carole's snapshot which included the silent dialogue between the woman in red and the human imagined shape on the wall. (3) Particularly, we can begin with the red coat sign in semiotic triangle according to the method of Peirce. So the red coat will reflect its object, which is the internal state of the woman. Therefore, it is an iconic sinsign, that it referred to the real sign and the deep feelings of the character. In the point of interpretation, in the semiotic triangle, we can assume the connection and the absurd separation between the characters and other painted shapes, or we can see hidden a celebration of colors and shapes behind the loud feelings of the red. (See the shape1).
Secondly, we can read the sign of the woman in Carole's snapshot which included the woman between the dark space and open shiny area.(4) The woman reflected its object, which is her searching for her identity in a wide cosmic a poetic context. So, the sign of the woman is an iconic sinsign, that it referred to the real scene and also a hyper level of an existence at the same time. Therefore, in the point of interpretation, we can assume the presence of the survival or another metaphoric pregnancy or the continuing of the searching for an individual identity between the past and the future. (See the shape 2)
Finally, we can read the sign of the contact between the legs of the children, that Carole captured this singular moment without the whole bodies to reveal the hidden rhythm of the legs.(5) The contacted legs reflected its object, which is the harmonious of life. So, the scene represented the iconic sinsign, that the legs reduced the joy of life through the hidden musical rhythm. In the point of the interpretation, we can assume the frequent musical presence of everyday life or the poetic performative dialogue between the legs. (see the shape 3)
References of the study: (1) Read, Roland Barthes, Camera Lucidia, Reflections on photography, translated by Richard Howard, Farrar, Staraus Giroux Inc, 1999, p. 34: 38. (2) Read, Charles Sanders Peirce, Selected Philosophical Writings V.2, Edited by: The Peirce Edition Project, Indiana University Press, 1998, p. 294. (3) See Carole Touati's snapshot at: https://www.instagram.com/p/CJk1dwXnbfP/ (4) See Carole Touati's snapshot at: https://www.instagram.com/p/CF_R4bgHMlc/ (4) See Carole Touati's snapshot at: https://www.facebook.com/photo.php?fbid=1299580300402860&set=pb.100010527071575.-2207520000..&type=3 Dr. Mohammed Sameer Abd Elsalam Art Critic .. Literary Critic
17-3-2021
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