““I just think there’s nothing more satisfying than the narrative thrust: beginning, middle, and end, what’s gonna happen. The thing I’m always bumping up against is that photography doesn’t function that way. Because it’s not a time-based medium, it’s frozen in time, they suggest stories, they don’t tell stories. So it is not narrative. So it functions much more like poetry than it does like the novel. It’s just these impressions and you leave it to the viewer to put together.” - Alec Soth”—via Aya Fujioka’s “I Don’t Sleep” and the Akaakaesque | Street Level Japan
“What has been lost, as Ms. Stewart and Ms. Smith both seem to recognize, is faith in the mysterious, non-linguistic channels through which art accomplishes its unique task, including its resistance to colonization by language. It is art’s ontology to function visually and to evoke the tactile, to engage both the mind and body of the viewer. Instead, many of our institutional guardians have sought a prescriptive approach to ensure that visual art works “properly.” These gatekeepers want to dwell in the more easily manageable world of ideas, rather than in the messiness of reality and the tangled threads of aesthetic impulses. - ARTSEEN editors”—via We can shoot too: Quote of the week
“The Twittersphere is an odd and uncanny place. It’s something like having fairies at the bottom of your garden. How do you know anyone is who he/she says he is, especially when they put up pictures of themselves that might be their feet, or a cat, or a Mardi Gras mask, or a tin of Spam?”—NYRblog - Atwood in the Twittersphere - The New York Review of Books
“Of course, I’m not suggesting that all photographs need captions; actually in my view there’s nothing worse than a throwaway title. But the caption is an art form and online, where images get cut and paste all the time without much attention paid to titles, captions or even the photographer’s name, one that is too often overlooked.”—
I know this article is talking about captions as part of the work of art, but it reminds me that I would like to see image metadata improved for image-makers, writers, and web designers. Image files have the capability to store this type of structured information but creating and displaying that data is by no means intuitive.
I’ve seen a successful execution recently in the way that Tumblr handles audio uploads. When I posted a song by Nico Muhly, the album art was uploaded along with the music (it’s lives inside the same file), was extracted by Tumblr, and displayed in my template. Zero work on my part, everyone wins.
Flickr has a good implementation of displaying camera metadata but I’m talking about image creators being able to easily embed titles and captions in images for others to display with ease. If image credits and captions, in this system, aren’t automatically displayed, they could at least be automagically inserted as editable text below the image. This would make blogging much easier and more ethical.
“Of course, I’m not suggesting that all photographs need captions; actually in my view there’s nothing worse than a throwaway title. But the caption is an art form and online, where images get cut and paste all the time without much attention paid to titles, captions or even the photographer’s name, one that is too often overlooked.”—The art of the caption | eyecurious
Literally meaning “back figure”, the term rückenfigur is usually associated with German romantic painters, such as Caspar David Friedrich, to describe a viewpoint that includes another person seen from behind, viewing a scene spread out before the viewer.
Over the years this particular technique has found its way quite substantially into the heart of both photography and cinema, but strangely receives little acknowledgment in either. While rückenfigur has its own classical definitions, this group is open to examine the mystery that rückenfigur conveys… so, many interpretations of this visual style are welcome.
“Museum boards need the 18th C. model to make collections valuable and to establish cultural capital, whereas the 21st C. museum would need to be interactive and reflective of the visitor’s ability to deal with living in a mix of virtual and physical realities. Should museums adopt a format of mixed realities, they would still reflect modernist components of power through the structure of their information’s dissemination. Restrictive cultural spaces bent on forming an ideal citizen become increasingly problematic as technology produces more globalized individuals.”—JOGGING
I love your blog and how you keep on posting interesting content. Just one thing: I can overlook a typo every once in a while but your use of 'whose' just never seems right. It's a minor thing but as I see it reoccuring I thought I'd mention it.
Otherwise thanks for everything and keep up the great work.
A) Fuck you
B) Thanks. That was a blind spot. Writing is too difficult.
44 days to go, with less than 50% funded! The rewards are, in my opinion, really cool and worth it. I mean, $250 for a portrait session with me?! That’s worth like $2,000,000,000. I mean that. That’s how much it’s worth. A lot, but you get it CHEAP if you help fill my car with gas.
My postcards range from heartfelt to funny within a space of mere INCHES.
‘I was completely unknown for thirty years, my books did not sell at all. I was comfortable with that situation which worked well with my view on things. The only important years are the years of anonymity. To be unknown is a voluptuousness which has its bitter sides sometimes, but it is an extraordinary state.’
— Emil Cioran (in conversation with Michael Jakob), 1988
“Despite my forecast, photography – like cats or painting – may yet have a few more lives. In any case, if most viewers can’t tell whether pictures were taken with analogue or digital cameras, who cares if film fades? Whatever photographers use, their goal is no longer taking pictures but showing how their work is not painting, cinema, sculpture or any other medium. The negative is no longer a square of film: it’s a question of survival.”—Frieze Magazine | Archive | Long Exposure
“So, what is it we are discussing here - how do we describe the nature of this photographic creativity? My modest skills are insufficient for such things. However let me make an opening offer: perhaps we can agree that through force of vision these artists strive to pierce the opaque threshold of the now, to express something of the thus and so of life at the point they recognised it. They struggle through photography to define these moments and bring them forward in time to us, to the here and now, so that with the clarity of hindsight, we may glimpse something of what it was they perceived. Perhaps here we have stumbled upon a partial, but nonetheless astonishing description of the creative act at the heart of serious photography: nothing less than the measuring and folding of the cloth of time itself.”—AMERICAN SUBURB X: THEORY: “Paul Graham - The Unreasonable Apple” (2010)
“4. Roadtrip with a twist. Take a trip with 4 of your best friends out to the coast camping in the summertime, or the desert in the autumn. Tell them to bring interesting clothes and props. Whatever they can dig up. Seek the strange. Stop off at a thrift store and buy some strange stuff that will act as muses for you. Shoot at least 500 images…all the ‘off’ moments, not single posed image. And here’s the kicker. Do it with film. The oldest film you can find, expired Portra 400 color print film. And an old camera. A holga perhaps, or an old hasselblad (cheap rental). Or (gasp) a 35mm point and shoot. Get the negs scanned at the local lab when you get home. Price: Gas plus food plus $400 in film expenses. $40 in junk from the thrift store. You’ll get priceless moments of those people closest to you. And you’ll be experimenting all the while…”—