Insights: Issue Two imagines Philippine Photography as a strange mode of connection which we inhabit, embodying objects, dispositions, inscriptions, and sovereignties. A photograph is claimed to be an opaque surface; but we propose a view of Photography that is translucent, solvent, and kinetic.

Philippine space programs, copyright laws, indigenous bodies, territorial claims, camera sales, magisterial lectures, archival interventions, philosophy classes, statistical mappings, fake news, media theories, gender identities, capital flows, social algorithms, artistic impulses, documentary films, memes, cognition studies, critical interrogations, speech acts—all are subterranean organs of the Photography Complex.

Insights invites writings about Photography from all sites and times, voices and proclivities, from people, institutions, and materialities, which incite a Philippine Imaginary: affirming it, subverting it, denying it. We imagine submissions that extend the discussions of Photography beyond being mere tool or type, to a rhizomatic form of values, histories, machinations, revolutions, vibrations, and categories, produced by motives and accidents both grand and obscure.

The publication equally encourages submissions that range from the diaristic, journalistic, and historical. Confessionals, dialogues, and the pedestrian account hold as much value to Insights as critical indictments, material treatises, and curatorial manifestos of Philippine Photography.

We aim to show an ecology of tension and reconciliation, of articulation and dissolution, of expression and contradiction, of the real and representation. Indeed, The Complex is both space and its predicates.

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