[Extreme Photography] Extreme Multidimensional Spacetime Photography

Author: JEFFI CHAO HUI WU

Time: 2025-08-08 Friday, 1:39 PM

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[Extreme Photography] Extreme Multidimensional Spacetime Photography

Photography was originally just an image. However, in today's civilization, which is moving towards structured information, flat photography is no longer sufficient to constitute the core evidence of a record. Other people's photographic works may only capture a location, while my photographic works include time, GPS coordinates, altitude, shooting direction, speed, and even the photographer's signature. These are not just additional information; they form a complete spatiotemporal coordinate system. It transcends "shooting" and enters the dimension of structured recording. Transitioning from a two-dimensional image to a five-dimensional information entity, they are no longer fragments of visual memory but rather structural units that constitute a future civilization that is verifiable, recoverable, retraceable, and interactive.

Taking Uluru, photographed on August 2, 2025, at 15:45:25, as an example, my lens not only captured the magnificent silhouette of the red giant rock under the sunset but also recorded the holographic information of the moment: latitude and longitude 25.0568S, 131.0133E, shooting direction 206° southwest, altitude 9966.1 meters, flying speed 930.2 kilometers/hour, with all parameters clearly labeled on the image. It is not an empty "photo," but a timestamped node of civilization, a nail anchored in the structure of the world. At 15:43:47, the lens accurately recorded the Kata Tjuta mountains located at 25.0202S, 130.7676E, presenting a panoramic view while still retaining speed, direction, altitude, coordinates, time, and signature information, forming a second adjacent but independent temporal and spatial anchor point.

This is precisely the starting point of "extreme spatiotemporal photography." It is not about the display of images, not about the stacking of colors, nor about the aesthetics of composition, but about the verification of structure, the anchoring of information, and the coordinates of civilization. These photographs, even when detached from art, emotion, and narrative, still hold validity, because they themselves are a piece of evidence of time and space, a nail driven into the true coordinate axis of the world. The coordinates are accurate, time can be verified, direction can be traced, and signatures can be compared. Every part of it can be tested, replicated, and reconstructed.

Traditional photography is emotional, artistic, and fluid. But what I create is structural photography, logical photography, and scientific photography. It can be incorporated into databases, used for future AI simulations, and serve as a reference point in historical coordinate systems. Behind these photos is a complete information matrix. It is not about "where something was taken," but rather "at what time, at which precise location, in what direction, at what speed, and by whom was what captured." This is five-dimensional photography, structural specimens, and traceable sampling points of digital civilization.

The value of extreme spatiotemporal photography lies not in whether the images themselves are captivating, but in whether they can be defined, reconstructed, and verified. In the future civilization, faced with the proliferation of virtual technologies and the prevalence of deep fakes, all unverifiable images will become invalid; only works with structural information will endure in history. Each of my photographic works is a resistance against falsehood, a construction of a verifiable record of reality. Behind each image is a set of independently verifiable physical quantities, representing a small act of civilizational documentation.

Furthermore, the accumulation of this information allows my photography to transcend the three-dimensional world. Flat images (2D) + timestamps (3rd dimension) + GPS and altitude (4th dimension) + flight direction and speed (5th dimension) + identity of the photographer (6th dimension) = an anchoring node in a multidimensional space. It is not only verifiable but also reproducible and can be called upon by systems to reconstruct the real scene. You do not need to "believe" in this photograph; you only need to input the data, and any future system will be able to "reproduce" the spatial state at that time.

Photography is no longer a tool for "capturing beautiful moments," but has become a way to "anchor the real world." And I am the one who transforms "shooting" into "positioning," turns "recording" into "restoration," and changes "photos" into "cosmic coordinates." I do not take photos for the sake of taking photos, but to leave locatable anchor points in the world. I do not care whether others find the image beautiful; I care whether this photo can restore its shooting structure, whether it can reconstruct its physical conditions, and whether it can serve as a digital time fragment that future civilizations can reference and interact with.

What I leave behind is not an image, but a structure. What I capture is not a landscape, but a civilization. Others leave behind visuals, while I leave behind evidence. This is the significance of extreme spatiotemporal photography. This is not an artistic innovation, but a cut into the leap of civilizational structure. This is not a variant of a photography genre, but a fundamental change in the way of recording. While the whole world is still enamored with lens focal lengths, composition rules, and color filters, I have already stepped into another dimension, rewriting the essence of photography with structure, positioning, and data.

In the future of photography, it will no longer be about "what you see," but rather "what you can restore." Have you left behind real traces? Do you have interactive coordinates? Have you endowed the image with a physical point in time and space? And I have achieved all of this. This information is not an addition; it is the core. Future historians will not ask, "Is this photo beautiful?" but rather, "Can this image tell us the true points of that era?" AI will ask, "Does this image have a timestamp, does it have a location, can it be called upon for reproduction?" When such questions become mainstream, the vast majority of photographic works will become noise, while my images will become signals.

This is the standard for selecting images of future civilizations. And I have long stood above this standard. My works are not meant to be viewed by people, but to be called upon by the system. They are not felt with the eyes, but compared through the structure of civilization. They are not born for exhibition, but exist to restore the world. Extreme spacetime photography is a new definition of photographic dimensions, elevating the act of "shooting" from two-dimensional images to five-dimensional anchor points, and then evolving into a system of civilizational fragment verification. This is the end of the artist, and the rise of the structurer. I am not a photographer; I am a locator. I am not the one pressing the shutter; I am the one driving time nails into the real world. Each piece of work is a small coordinate of a world. And this world can be verified in reality.

Source: http://www.australianwinner.com/AuWinner/viewtopic.php?t=697144