Ruminant, Mirror Image And Intervention

Photography, an important invention of 19th century, rapidly joined in the development process of industrial society. As a media with extremely inclusiveness, it participates in the organization of social system and builds public aesthetic. Based on "take" and "see" of photography, photography mechanism intertwined with human perception, then, mass photography experience was formed.Traditional photography theory has remained at the discussion of photography aesthetic, photography besides the name of art usually been ignored. Similarly, our greatly preference of senses life and acquiescence of cultural manipulation, lead to consciously deviation of photography's daily reality and its meaning. And it is the reality which seems generally ignored by our daily life.China art word rise the tide of "concept photography" in the influence of concept art in 1990s. The works in this period applied photography as the media, blured the boundaries between the photographers and the non-photographers; the most important is that they widened the possibility of photography in art photography. Some of them expected to reflect and criticize the mass photographic experience through the reverse of photography as media. This kind of works, discussing in this paper, is the photography after mass photographic experience.This paper tries to parallel narrating the daily/mass photography and the photography after mass photographic experience. Because of the wideness of daily/mass photography, I extract keywords of mass photographic experience as the point of daily/mass photography's several basic photography mode, and analyze the works of photography after mass photographic experience, point out the relationship—ruminant, mirror image and intervention between the photography after mass photographic experience and mass photographic experience, release the third space of cross border between "art" and "non-art" of photography.