Some trends of thought explore the possibility that every human being born has the knowledge

of the universe. Still, the contact with the world of appearances that we have constructed makes

us forget the essentials of our existence. The modes of communication in our societies, such

as social networks, project shadows on a wall, creating illusions. Then, we relate to each other,

assuming these visions as reality, in a constant reproduction of Plato’s cave. These forms of

communication and relationships establish the rules of a linear and simplistic way of thinking that

sometimes makes us underestimate our possibilities as beings and as a society.

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This concern has been present throughout the history of humanity. This disengagement, which

has resulted in ignorance, has led great thinkers to relate theories, research and creations to

rediscover that place of truth and source. This is also why questioning the origin of existence and

its purpose has been a central theme of our species. Human beings have had - and have - at

times an arrogant approach to life: where does the inspiration and virtue of our creation come

from? Where do we get knowledge from? Do we believe in our individuality above all and our

mind as the only source of ideas?

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However, we are not so lost! We still have a lot of capacity to learn and connect to what is true

for us. The experience with the material world of the planet we inhabit, the physical experience of

our bodies in contact with cities, nature or other individuals can make us “remember” and open

new spaces related to our existence.

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In this edition of LUMÍNIC, we invite those projects that work with photography in this liminal

space between the conscious and the unconscious, between documentation and the mirage

or a dream. Projects that use photography to expand the notion of life, specifically human life,

confront what is explained about existence. Projects that can face this issue literally or others

working from the subtle that stir up unnoticed.

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Some of the questions we could ask ourselves are: are we creating or remembering? Are we

mirages among ourselves to make us remember? Is imagination part of what we consider reality?

How do we know that what we imagine are not moments of clarity of that forgotten knowledge?

Is what we represent in images a more real world than the one we live in - the camera as a

catalyst and photography as a portal -? Is the artist a channel of universal genius? Can intuition

be a form of learning and a primary source of knowledge in our projects? Ancient knowledge and

rituals, Steiner’s intuition and anthroposophy, Jung’s dreams or Deleuze’s fold can provide us with

many clues on these questions, among others.