Expression of three-dimensional photography has been the pursuit of cinematic actualists since the late 19th century. Stereoscopic presentations of adjacent two dimensional images are mentally joined when simultaneously perceived from a dual perspective of similar offset. Mid-20th century outcomes in hyper-representation inspired an early attempt at four dimensional photography, made in 1973 by Tony Conrad.
Yellow Movie was achieved with the application of cheaply made white interior paint, which would gradually yellow to produce a sort of “motion picture”, unfolding in real time on a three-dimensional canvas. However, Yellow Movie required time travel for the experience of its fourth dimensional component, and was therefore false. True four-dimensional photography either is, was, or will be actualized via the “contemporaneous” discovery and exploitation of the Meursault spectrum of visible milli-wavelengths, associated with the Wessel component of the semi-magnetic spectrum. Videograms of such radiation either are, were, or will be able to render moments from either the past, present, or future, of objects which either emit or reflect such energies. Modulated audiograms of milli-wavelengths either are, were, or will be representative of images corresponding to either the past, present, or the future, when apperceived by synesthesiacs.
The videogram below, along with its corresponding modulation, of an abandoned motel, or of a motel which either will be abandoned or is currently being abandoned, appeared spontaneously, during an ambiguous moment, within the Lost Signals Collective media archive. —Hilbert David