The Paranoiac-Critical Method of Reflectance Transformation Imaging

This essay examines Reflectance Transformation Imaging (RTI), an open source computational photographic process that is transforming methodologies in archaeology and heritage conservation for its ability to interactively re-light artefacts within a virtual hemisphere of illumination and extrude a digital topography that is hyper-legible in space-time, from its contemporary application in facial recognition via Bertrand Tavernier's 1980 science fiction film La Mort en Direct and a return of the death mask through digital extrusion, ultimately locating a progenitor of the heightened objectivity promised by RTI paradoxically in Surrealist photography and the fugitive facialities of Salvador Dali's Paranoiac-Critical Method.

As emerging imaging technologies such as RTI are seen to open novel ways of extracting latent data from historical artefacts, reassembling objects of study in a new (virtual) light, collateral opportunities provided by these technologies to re-enter archival still and moving image recordings inadvertently recalibrate their spatio-temporal ground and destabilise their indexical reading through an excessive production of new traces and signs. If methodologies can be seen to play a significant role in constructing their objects of study, then emerging computational imaging operations such as RTI have their own subjectivities to disclose: In performing a media archaeology of this digital process, the essay proposes that we not only narrate the subjects of our study but the very tools of investigation themselves.