‘It is important to note that a photomontage need not necessarily be a montage of photos’, the Constructivist writer Sergei Tretiakov declared in 1936. ‘No’, he clarified; ‘It can be photo and text, photo and colour, photo and drawing’. In 2019, ‘photo and smartphone’ might also appear in Tretiakov’s list. The volatile image, filtered through applications and shared across shifting platforms, is far from a new phenomenon. Networks of photographic dissemination and manipulation, traceable to the medium’s origins, have long precluded the possibility of a still photograph. As digital processes abstract cutting and pasting from scissors and glue, avant-garde photomontage offers a useful model with which to regard today’s unprecedented fluidity of images.

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Snapchat 蒙特尔？蒙太奇的新平台

“重要的是要注意，照片蒙太奇不一定是照片蒙太奇”，建构主义作家谢尔盖·特雷蒂亚科夫 (Sergei Tretiakov) 在 1936 年宣称。'它可以是照片和文字，照片和颜色，照片和绘图'。2019 年，“照片和智能手机”也可能出现在 Tretiakov 的名单中。通过应用程序过滤并跨平台共享的不稳定图像远不是一种新现象。可追溯到媒体起源的摄影传播和处理网络长期以来一直排除静态照片的可能性。由于数字过程从剪刀和胶水中抽象出剪切和粘贴，前卫的蒙太奇提供了一个有用的模型，可以用来看待当今前所未有的图像流动性。