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The comparison showed that the same image can be altered in different ways depending on the material used—not only through fading, but also through changes in colour, surface and the physical structure of the paper. | The comparison showed that the same image can be altered in different ways depending on the material used—not only through fading, but also through changes in colour, surface and the physical structure of the paper. | ||
[[File:5 Samples Test 02.png|center|thumb|452x452px]] | [[File:5 Samples Test 02.png|center|thumb|452x452px]] | ||
== Chemical Degradation with Sulfuric Acid == | |||
As a final laboratory experiment, printed images were exposed to 96% sulfuric acid under supervision in the BioLab. Unlike the earlier tests with river water and diluted household substances, this experiment focused on a rapid chemical degradation of both the paper and the printed image. | |||
The process was recorded at different scales. For the macro recordings, the prints were placed in a shallow container and sulfuric acid was applied across the surface while the transformation was filmed with a camera and a macro lens. Further samples were observed through two microscope setups. In these recordings, the acid was added drop by drop directly onto the printed surface. One of the microscopes allowed the process to be filmed at several levels of magnification. | |||
The recordings show the image changing unevenly rather than simply disappearing. The paper darkened, softened and gradually lost its structure. Printed colours moved across the surface, while fragments of ink and individual faces remained visible in some areas after the surrounding material had already broken apart. At the microscopic scale, the halftone pattern of the print, the texture of the paper, moving liquid fronts and small bubbles became part of the image. | |||
This became the main visual outcome of the project. Moving between the complete collage, isolated faces and the microscopic surface made it possible to observe degradation not only as a final condition, but as an active process. The image is attacked and partly dissolved, but its disappearance is irregular: some faces fade, while others remain temporarily visible within the damaged material. | |||
I have started editing the recorded macro and microscopic material into a short film. The film will bring together the different scales of the experiment and focus on the tension between material destruction and the continued presence of the faces.<blockquote> | |||
[[File:001--.jpg|center|thumb]][[File:002--.jpg|center|thumb]][[File:004--.jpg|center|thumb]][[File:005--.jpg|center|thumb]][[File:006--.jpg|center|thumb]][[File:008--.jpg|center|thumb|[[File:009--.jpg|center|thumb|[[File:0010--.jpg|center|thumb]][[File:0011.jpg|center|thumb]][[File:0013.jpg|center|thumb]][[File:0014.jpg|center|thumb]]]]]] | |||
'''Image source:''' Amnesty International, ''Blood-Soaked Secrets: Why Iran’s 1988 Prison Massacres Are Ongoing Crimes Against Humanity''. Cover collage of some of the victims of the 1988 prison massacres in Iran. © Amnesty International.</blockquote> | '''Image source:''' Amnesty International, ''Blood-Soaked Secrets: Why Iran’s 1988 Prison Massacres Are Ongoing Crimes Against Humanity''. Cover collage of some of the victims of the 1988 prison massacres in Iran. © Amnesty International.</blockquote> | ||