Abstract

This article contains an analysis of Warren Neidich’s early photographic work of 1997 until 2002. These works are linked to the extensive theoretical production of the artists who connect them to the concepts of the dispositif and apparatus respectively. The article provides a close description of the parameters of four pivotal work groups of Neidich’s early practice, Brain Wash, Double Vision, Shot Reverse Shot and Law of Loci. These works were realized with the aid of low-tech devices stemming from neuro-ophthalmology, marking the interface between current neuro-philosophical discourses such as the plasticity of the brain, the apparati of visual, i.e. analog and digital, culture and the philosophy of memory. It is suggested that Neidich, even though he intervenes and contributes importantly to these intermingling discourses in a broad manner, is particularly interested in the degraded and infirm implementations of human vision in order to explore new sensations and habits of perception.