Like other modes of exaggeration, microcosmic thinking involves juxtaposition with relation to scale and detail. Exaggeration is not possible without correspondence and relativity. But whereas miniaturization involves the juxtaposition of object and representation, of everyday and extraordinary scale, microcosmic thought is a matter of the establishment of correspondences between seemingly disparate phenomena in order to demonstrate the sameness of all phenomena. Such thought therefore always tends toward theology and the promulgation of a ‘grand design.’ In diversity is unity; all phenomena are miniaturizations of the universe.

– Susan Stewart. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection. Durham: Duke University Press, 1993, p. 128.

It is felt that there is something morally wrong with the abstract of reality offered by photography; that one has no right to experience the suffering of others at a distance, denuded of its raw power; that we pay too high a human (or moral) price for those hitherto admired qualities of vision–the standing back from the agressiveness of the world which frees us for observation and for elective attention. But this is only to describe the function of the mind itself.

– Susan
Sontag. Regarding the Pain of Others. New York: Farrar, Straus and Giroux, 2003: 118..

… the Nazis … mass-distributed images of [Albert] Speer’s models in the form of postcards. The monumental effect of architecture could just as easily, perhaps even better, be achieved, say, by a high-angle, totalizing image of architecture. No need to even build the real thing. For years after the war, many Germans mistakenly believed that Speer’s Berlin projects had actually been built and then destroyed in the last stages of the war.

Thus fifty and some years later, our own monumental seduction may be no longer tied up with real built space at all, certainly not with the mammoth shopping malls in the middle of nowhere, nor with international airports and their mass circulation of people and commodities, both of which are physically uncoupled from the traditional site of public space: the living city. No wonder, then, that some will look for the new public space on the Internet, our very own monumental seduction that holds the promise of conquering both time and space and that gives new meaning to McLuhan’s phantasm of an electronically unified global culture. Monumentality today may all be in cyberspace and the information highway. The Germans, at any rate, in seamless and oblivious continuity with another monumental Nazi project – the building of the Autobahn – call it Infobahn, and Deutsche Telekom, in a recent ad in the New York Times, has described without hesitation as the ‘fast lane to the future’. Monumentality is alive and well. We may in fact have to consider a monumentality of miniaturization, for the world wide web is in principle the most gigantic undertaking of our age, as promising to some and threatening to others as any monumentalism has ever been.

– Andreas Huyssen. “Monumental Seduction: Christo in Berlin.” In Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford, Calif: Stanford University Press, 2003: 47-48.

The first new world discovered by the film camera in the days of the silent film was the world of very small things visible only from very short distances, the hidden life of little things. By this the camera showed us not only hitherto unknown objects and events: the adventures of beetles in a wilderness of blades of grass, the tragedies of day-old chicks in a corner of the pultry-run, the erotic battles of flowers and the poetry of miniature landscapes. It brought us not only new themes. By means of the close-up the camera in the days of the silent film revealed also the hidden mainsprings of a life which we had thought we already knew so well. Blurred outlines are mostly the result of our insensitive short-sightedness and superficiality. We skim over the teeming substance of life. The camera has uncovered that cell-life of the vital issues in which all great events are ultimately conceived: for the greatest landslide is only the aggregate of the movements of single particles. A multitude of close-ups can show us the very instant in which the general is transformed into the particular. The close-up has not only widened our vision of life, it has also deepened it. In the days of silent film it not only revealed new things, but showed us the meaning of the old.

Bela Balazs. Theory of the Film; Character and Growth of a New Art. New York: Dover Publications, 1970, pp. 54-55.