“There is so much photography, especially of a ‘seriouss’ [sic!] nature, that ties you up in knots, that seeks to put you into a particular place in the way that you see and understand it. It’s a kind of photographic correctness, where even though you may agree wholeheartedly with what is being said or shown, the resentment at being forced to agree with the sentiments of the work, the inability of the work to offer even a second dimension or alternative perspective makes one want to disagree with it just for the sake of it. It’s Stupid Photography that doesn’t enlighten or engage, but just shuts things up and makes one long for something that is open and free. Photography isn’t always open or free.”—Colin Pantall (via conscientious)
New York literary magazines – start spreading the news
And is the New Inquiry a professional stepping stone, a means to get a job at a more established magazine?
"No," she says, firmly, "that’s a huge misconception. I had interned for the New Yorker as a freshman and I thought it was the worst working experience of my life. I just don’t feel comfortable honouring a legacy – that just kills my interest." She says that over the last few years she’s "become very politically radical, because I’m exposed to people who are changing my ideas. There is an unstructured population of politically sophisticated young people that are in debt, atomised and speak from an important critical position – there is a simmering need to congregate."
For my photography, I’ve been studying the work of Duane Michals. He’s famous for these photo sequences, which tell stories in a cinematic way. I bought a few of his books, and I’ve begun to think about sequences of my own that suggest a narrative.
I’m always curious to hear how something was made—though I have no interest in why an artist did something, or what his work means. Like with Jackson Pollock: I’m always interested in what kind of paint and canvas he used, I just don’t want to know what he meant. You’re supposed to expand your mind to fit the art, you’re not supposed to chop the art down to fit your mind.
“Well, the great wonder of our time is also a disease of our time: the desire to experience things for ourselves. It’s just the thing at the moment, what we don’t want is to be told stuff. We don’t like elites any longer because we’re all like each other. We want to know it ourselves, we want to feel it. It’s partly due to the rise of individualism. But what we get to is what I call the “duchess paradox”, where everyone is now a duchess in society. The real problem with that is that if you’re all duchesses then what’s the point of being a duchess? Everyone’s a celebrity now. Everyone wants to be a celebrity, they want to be treated like celebrities. They want to go to spas, they want to get married in big, posh houses. People will pay for VIP tickets to concerts. It’s extraordinary. Everyone is desperately searching for where it’s at. The point is there is nowhere it’s at – “it” simply just doesn’t exist. It’s the great tragedy for that generation: they just want to experience something.”—The Filmmaker Adam Curtis Shares His Thoughts on Our Generation | VICE
“Given the proliferation of options, how should I document this cat? For some, though certainly not everyone, this question is becoming increasingly difficult to answer. The most obvious answer is “don’t document that cat. Enough already.” I’m with you. I’m concerned about how social media documentation changes experience.”—Documentary Oversaturation » Cyborgology