Tag: Critical Theory

MA Bibliography – Complete

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The Repeat Photography Project (no date). Available at: http://repeatphotography.org/intro/ (Accessed: 17 June 2018).The Repeat Photography Project (no date). Available at: http://repeatphotography.org/intro/ (Accessed: 20 June 2018).

What is Repeat Photography? – Exploring Land Cover Change Through Repeat Photography (no date). Available at: http://denalirepeatphotos.uaf.edu/index.php/about-the-project/what-is-repeat-photography/ (Accessed: 20 June 2018).

The Social Turn: Collaboration and its Discontents :: Artificial hells; participatory art and the politics of spectatorship (no date). Available at: https://content.talisaspire.com/falmouth/bundles/590c4a61646be007c630a054 (Accessed: 22 June 2018).

The Collaborative Turn :: Taking the matter into common hands; contemporary art and collaborative practices (no date). Available at: https://content.talisaspire.com/falmouth/bundles/590c9d26540a2665d636d414 (Accessed: 22 June 2018).İki

Deniz Arası – Between Two Seas – Home | Facebook (no date). Available at: https://www.facebook.com/ikidenizarasi (Accessed: 24 June 2018).

Highland fury as Trump rival drives golf course plan forward | UK news | The Guardian (no date). Available at: https://www.theguardian.com/uk-news/2018/jun/23/highland-fury-trump-rival-drives-golf-course-plan (Accessed: 25 June 2018).

Embo’s Coul Links golf course backed by councillors – BBC News (no date). Available at: https://www.bbc.co.uk/news/uk-scotland-highlands-islands-44537876 (Accessed: 25 June 2018).

Councillors defer decision on Coul Links golf course – BBC News (no date). Available at: https://www.bbc.co.uk/news/uk-scotland-highlands-islands-44371329 (Accessed: 25 June 2018).

Coul Links Conservation Case | Our Work – The RSPB (no date). Available at: https://www.rspb.org.uk/our-work/our-positions-and-casework/casework/cases/coul-links/ (Accessed: 25 June 2018).

Highland councillors defy their officials by voicing unanimous support for Coul Links plans | Press and Journal (no date). Available at: https://www.pressandjournal.co.uk/fp/news/highlands/1491262/highland-councillors-defy-their-officials-by-voicing-unanimous-support-for-coul-links-plans/ (Accessed: 25 June 2018).

jenny odell • travel by approximation (no date). Available at: http://www.jennyodell.com/tba.html (Accessed: 27 June 2018).

You Talking To Me? On Curating Group Shows that Give You a Chance to Join the Group :: What makes a great exhibition? (no date). Available at: https://content.talisaspire.com/falmouth/bundles/59145899540a2631415f8494 (Accessed: 8 July 2018).

John Hallmén (no date). Available at: http://www.johnhallmen.se/2016/4/25/morning-stretch (Accessed: 8 July 2018).

John Hallmén (no date). Available at: http://www.johnhallmen.se/2016/12/8/emus-hirtus-1 (Accessed: 10 July 2018).

walead beashty cyanotypes – Google Search (no date). Available at: https://www.google.com/search?q=walead+beashty+cyanotypes&client=firefox-b-ab&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjttqT3uJzcAhWU0aYKHbPUBMwQ_AUICigB&biw=1440&bih=733 (Accessed: 13 July 2018).

Alex MacLean, Aerial Photographer (no date). Available at: http://www.alexmaclean.com/ (Accessed: 13 August 2018).

Marilyn Bridges photography: Ancient and Contemporary locations worldwide, Prints and books available. (no date). Available at: https://marilynbridges.com/ (Accessed: 13 August 2018).

Yann Arthus-Bertrand (no date). Available at: http://www.yannarthusbertrand.org/ (Accessed: 13 August 2018).

The Dunes — Sophie Gerrard (no date). Available at: https://www.sophiegerrard.com/work/the-dunes/ (Accessed: 17 August 2018).

POWERS OF TEN AND THE RELATIVE SIZE OF THINGS IN THE UNIVERSE | Eames Office (no date). Available at: http://www.eamesoffice.com/the-work/powers-of-ten/ (Accessed: 20 August 2018).

Kevin Murray Golf Photography | Golf Photos | Top Golf Photographer (no date). Available at: http://kevinmurraygolfphotography.com/ (Accessed: 22 August 2018).

Golf Photography – Mark Alexander (no date). Available at: http://www.markalexandergolfphotography.com/golf-photography/ (Accessed: 22 August 2018).

11 tips: How to make amazing golf course photos – Golf Photography by Kaia Means (no date). Available at: http://golfvisuals.com/amazing-golf-course-photos/ (Accessed: 22 August 2018).

Paul Severn Golf Photographer /Golf Course Images/Golf Tournaments/Golf Picture Library (no date). Available at: https://www.severnimages.com/index (Accessed: 22 August 2018).

Power and the Camera: Gregory Halpern Talks Intuition, Reflection and Representation • Magnum Photos (no date). Available at: https://www.magnumphotos.com/theory-and-practice/gregory-halpern-profile-intuition-representation/ (Accessed: 27 October 2018).

Learning from the Master • Inge Morath • Magnum Photos (no date). Available at: https://www.magnumphotos.com/theory-and-practice/learning-from-the-master/ (Accessed: 27 October 2018).

History of Art Timeline (no date). Available at: http://www.visual-arts-cork.com/history-of-art-timeline.htm (Accessed: 19 November 2018).

History of Photography (no date). Available at: http://www.visual-arts-cork.com/photography/photo-history.htm (Accessed: 19 November 2018).

Biography of Axel Hutte | Widewalls (no date). Available at: https://www.widewalls.ch/artist/axel-hutte/ (Accessed: 20 November 2018).

Biography of Axel Hutte | Widewalls (no date). Available at: https://www.widewalls.ch/artist/axel-hutte/ (Accessed: 24 November 2018).

Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/ (Accessed: 24 November 2018).

Work – Simon Roberts (no date). Available at: https://www.simoncroberts.com/work/ (Accessed: 27 November 2018).

Coming-soon–of-love-war : lynsey addario, photographer (no date). Available at: http://www.lynseyaddario.com/ (Accessed: 27 November 2018).

Biography — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/about/biography/ (Accessed: 2 December 2018).

Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/ (Accessed: 3 December 2018).

Axel Hütte | artnet (no date). Available at: http://www.artnet.com/artists/axel-hütte/ (Accessed: 3 December 2018).

Cindy Sherman: Me, myself and I | Art and design | The Guardian (no date). Available at: https://www.theguardian.com/artanddesign/2011/jan/15/cindy-sherman-interview (Accessed: 14 December 2018).

THE DETACHED GAZE | THOUGHTS AND SOURCES ON ALTERNATIVE WAYS OF SEEING (no date). Available at: https://thedetachedgaze.com/ (Accessed: 16 December 2018).

The Anthropocene Project — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/projects/the-anthropocene-project/ (Accessed: 9 January 2019).

Sprawling Anthropocene project shows humanity’s enormous impact on the planet | The Star (no date). Available at: https://www.thestar.com/entertainment/visualarts/review/2018/09/30/sprawling-anthropocene-project-shows-humanitys-enormous-impact-on-the-planet.html (Accessed: 9 January 2019).

Edward Burtynsky – The Anthropocene Project – Photo Review (no date). Available at: https://www.photoreview.com.au/stories/edward-burtynskys-anthropocene-project/ (Accessed: 9 January 2019).

Anthropocene art show and documentary will shock you with a view of human impact on the planet – The Globe and Mail (no date). Available at: https://www.theglobeandmail.com/arts/film/reviews/article-four-year-collaboration-project-looks-to-evangelize-the-term/ (Accessed: 9 January 2019).

Aerial Photographs Convey Humanity’s Devastating Effects on Nature (no date). Available at: https://hyperallergic.com/474175/burtynsky-anthropocene-project/ (Accessed: 9 January 2019).

Anthropocene reveals the scale of Earth’s existential crisis – NOW Magazine (no date). Available at: https://nowtoronto.com/culture/art-and-design/anthropocene-burtynsky-baichwal-ago/ (Accessed: 10 January 2019).

Landscape Stories: 80/2014 Axel Hütte (no date). Available at: http://www.landscapestories.net/interviews/80-2014-axel-hutte?lang=en (Accessed: 10 January 2019).

Axel Hütte (no date). Available at: https://www.deutscheboersephotographyfoundation.org/en/collect/artists/axel-huette.php (Accessed: 11 January 2019).

Axel Hütte (no date). Available at: https://www.zingmagazine.com/zing3/reviews/034_hutte.html (Accessed: 11 January 2019).

Aerographica – About (no date). Available at: http://aerographica.org/about/ (Accessed: 30 January 2019).

Safety in Numbness: Some remarks on the problems of ‘Late Photography’’ – David Campany’ (no date). Available at: https://davidcampany.com/safety-in-numbness/ (Accessed: 30 January 2019).

Unequal Scenes – Locations (no date). Available at: https://unequalscenes.com/projects (Accessed: 31 January 2019).

Layla Curtis (no date). Available at: http://www.laylacurtis.com/work/project/45 (Accessed: 4 February 2019).

Matthew Murray — Elliott Halls Gallery (no date). Available at: https://www.elliotthalls.com/matthew-murray (Accessed: 4 February 2019).

Sean O’Hagan | 1000 Words (no date). Available at: http://www.1000wordsmag.com/sean-o-hagan/ (Accessed: 14 February 2019).

Francis Hodgson | 1000 Words (no date). Available at: http://www.1000wordsmag.com/francis-hodgson/ (Accessed: 14 February 2019).

Charlotte Cotton | 1000 Words (no date). Available at: http://www.1000wordsmag.com/charlotte-cotton/ (Accessed: 14 February 2019).

20+ Examples Of Media Manipulating The Truth That Will Make You Question The News (no date). Available at: http://news.shareably.net/20-examples-media-manipulating-the-truth/?utm_source=fb_ads&utm_medium=facebook&utm_campaign=con-20-examples-media-manipulating-the-truth-43210373-1828482422&utm_identifier=61ebf249-eb13-ab34-dacb-1fb2315789e6 (Accessed: 14 February 2019).

Pete Davis Tin Sheds of Wales (no date). Available at: http://www.pete-davis-photography.com/sheds.html (Accessed: 14 February 2019).

gaze | The Chicago School of Media Theory (no date). Available at: https://lucian.uchicago.edu/blogs/mediatheory/keywords/gaze/ (Accessed: 3 March 2019).

Jane Austen believed beauty could come in every shape and size. What else can she teach us about wellness? – The Washington Post (no date). Available at: https://www.washingtonpost.com/lifestyle/wellness/jane-austen-thought-every-body-was-beautiful-what-else-can-her-works-teach-us-about-wellness/2019/03/08/9787dbda-3eba-11e9-a0d3-1210e58a94cf_story.html?utm_term=.4a08d894ebcb (Accessed: 18 March 2019).

Saddleworth — Matthew Murray Photography (no date). Available at: https://www.matthewmurray.co.uk/saddleworth (Accessed: 25 March 2019).

Menie: TRUMPED — Alicia Bruce (no date). Available at: https://aliciabruce.co.uk/menie/nky2fh0zmtn37cvcnspxtr1mrdy64m (Accessed: 17 June 2019).

chrystel lebas home (no date). Available at: http://www.chrystellebas.com/index.htm (Accessed: 20 June 2019).

(221) Charlotte Davies – Éphémère, Responsive Environment 1998 – YouTube (no date). Available at: https://www.youtube.com/watch?v=Oa_aiw7yhpI (Accessed: 17 November 2019).

Say NO to a golf course at Coul Links | Scottish Wildlife Trust (no date). Available at: https://scottishwildlifetrust.org.uk/our-work/our-advocacy/current-campaigns/coul-links/ (Accessed: 18 November 2019).

Glasgow School – Wikipedia (no date). Available at: https://en.wikipedia.org/wiki/Glasgow_School (Accessed: 18 November 2019).

Coul Links – Beyond the Noise (no date). Available at: https://www.northern-times.co.uk/news/coul-links-beyond-the-noise-185174/ (Accessed: 18 November 2019).

Zeeland flood museum – Google Search (no date). Available at: https://www.google.com/search?q=Zeeland+flood+museum&tbm=isch&tbs=rimg:CcrAu8mRlPtZImCW5AVy4_1BD2nUEGytn5Pfx4Qifz3xAz5sd0WgQEeLYvAdH0sG1wlV6zRvTHgGOG34384m4fnXQQnYTbW-IV2zPc3op0CgfibhkMU-E4c-CwRc6dEpHadvcSConAYiHb2oqEgmW5AVy4_1BD2hGxYbgOf44z_1yoSCXUEGytn5PfxEcH78g0sawc6KhIJ4Qifz3xAz5sRFe7vxunYJYcqEgkd0WgQEeLYvBHJ6xXpagYBFCoSCQdH0sG1wlV6Ec7CG5sJnAftKhIJzRvTHgGOG34RNxXJV4a4QFMqEgk384m4fnXQQhGDi723rz9G3ioSCXYTbW-IV2zPEdyGsVasbDrCKhIJc3op0CgfibgRVxBJCnQJsz0qEglkMU-E4c-CwRGd_1L1oADSeXioSCRc6dEpHadvcEbYPvJ8wN53_1KhIJSConAYiHb2oR0qSm9pyK7Wc&tbo=u&sa=X&ved=2ahUKEwjgjPjNnYjmAhWHDxQKHftMAeMQuIIBegQIARAv&biw=1536&bih=722&dpr=2.5#imgrc=pnRqmzVieyiDpM: (Accessed: 26 November 2019).

watersnoodmuseum – Google Search (no date). Available at: https://www.google.com/search?q=watersnoodmuseum&rlz=1C1SQJL_enGB858GB858&sxsrf=ACYBGNTJGL7yrEvoUBoHVn5FXupXsgbtPQ:1575040231161&tbm=isch&source=iu&ictx=1&fir=ysC7yZGU-1kaxM%253A%252CwfvyDSxrBzoZpM%252C_&vet=1&usg=K_Y6jnw8wUbLDAOQ3yFZa27MvPgBs%3D&sa=X&ved (Accessed: 29 November 2019).

Scottish Government – DPEA – Case Details (no date). Available at: http://www.dpea.scotland.gov.uk/CaseDetails.aspx?ID=119883 (Accessed: 1 December 2019).

Photographs Gallery — Edward Burtynsky (no date). Available at: https://www.edwardburtynsky.com/projects/photographs (Accessed: 3 December 2019).

Adams, R. (1994) Why People Photograph. 1st edn. New York: Aperture.

Alexander, B. and C. (2011) Forty Below. Manston: Arctica Publishing.

Arnold, D. (2011) ‘Hegel and Ecologically Oriented System Theory’, Journal of Philosophy. Kathmandu, United States Kathmandu, Kathmandu: Society for Philosophy and Literary Studies, 7(16), p. 0_3. Available at: http://ezproxy.falmouth.ac.uk/docview/1170929513?accountid=15894.

Arthus-Bertrand, Y. (2001) The Earth From The Air 365 Days. London: Thames and Hudson, Ltd.

Auge, M. (2008) Non-Places: An Introduction to Supermodernity. London, New York: Verso.

Azoulay, A. (2016) ‘Photography Consists of Collaboration: Susan Meiselas, Wendy Ewald, and Ariella Azoulay’,

Camera Obscura: Feminism, Culture, and Media Studies, 31(1 91), pp. 187–201. doi: 10.1215/02705346-3454496.Barker, E. (1999) ‘Introduction [IN] Contemporary cultures of display’, in Barker, E. and University, O. (eds) Contemporary cultures of display. New Haven: Yale University Press in association with the Open University, pp. 8–21.

Barnes, R. (no date) Civil War — Richard Barnes. Available at: http://www.richardbarnes.net/civil-war-1/ (Accessed: 9 August 2018).

Barrett, T. (2000) Criticizing Photographs: An Introduction to Understanding Images. New York: McGraw Hill.

Barthes, R. (1977) Image Music Text. New York: Hill and Wang.

Barthes, R. (1981) Camera Lucida: Reflections on Photography. New York: Hill and Wang.

Bate, D. (2016) Photography; The Key Concepts. 2nd edn, The Key Concepts. 2nd edn. London and New York: Bloomsbury Academic.

Bear, J. and Albers, K. P. (2017) Before-and-After Photography; Histories and Contexts. 1st edn. London; New York: Bloomsbury Academic.

Benjamin, W. (1931) Selected Writings 2, Part 2 1931-1934. Edited by G. Eiland, H., Jennings, M.W., and Smith. Cambridge, MA and London: Belknap Press.

Berger, J. (2013) Understanding a Photograph. Edited by G. Dyer. 2013: Penguin Books Ltd.

Berger, J. (1972) Ways of Seeing. London: Penguin Books Ltd.

Billcliffe, R. (2002) The Glasgow Boys : the Glasgow school of painting, 1875-1895. John Murray.

Boerma, P. (2006) ‘Assessing Forest Cover Change in Eritrea—A Historical Perspective’, Mountain Research and Development. doi: 10.1659/0276-4741(2006)026[0041:AFCCIE]2.0.CO;2.

Bright, D. (no date) The Machine in The Garden Revisited American Environmentalism and Photographic Aesthetics. Available at: http://www.deborahbright.net/PDF/Bright-Machine.pdf (Accessed: 14 March 2019).

Brogden, J. (2019) Photography and the Non-Place: The Cultural Erasure of the City. First. Cham, Switzerland: Palgrave Macmillan.

Bullock, S. H. et al. (2004) ‘Twentieth century demographic changes in cirio and cardón in Baja California, México’, Journal of Biogeography, 32(1), pp. 127–143. doi: 10.1111/j.1365-2699.2004.01152.x.

Burkhauser, J., Canongate Publishing and Red Ochre Press (no date) Glasgow girls : women in art and design, 1880-1920.

Burton, C., Mitchell, J. T. and Cutter, S. L. (2011) ‘Evaluating post-Katrina recovery in Mississippi using repeat photography’, Disasters, 35(3), pp. 488–509. doi: 10.1111/j.1467-7717.2010.01227.x.

Burtynsky, E., Baichwal, J. and De Pencier, N. (2018) Anthropocene. Gottingen: Steidl.

Campany, D. (ed.) (2007) The Cinematic. London, Cambridge: Whitechapel Gallery and MIT Press.

Carroll, H. (2018) Photographers on Photography: How the Masters See, Think & Shoot. London: Laurence King Publishing Ltd.

Cupido, P. (2019) Ephemere. Zurich: Bildhalle.

Darwent, C. (2007) Weblet Importer. Available at: http://danielgustavcramer.com/infotxt.html (Accessed: 1 April 2019).

Day, A. (2019) Every Photograph You’ve Ever Taken Is a Lie: Steve McCurry, Tom Hunter, and the Problem With Visual Storytellers | Fstoppers, Fstoppers. Available at: https://fstoppers.com/documentary/every-photograph-youve-ever-taken-lie-steve-mccurry-tom-hunter-and-problem-334178 (Accessed: 13 February 2019).

Delaney, H. and Baker, S. (eds) (2015) Another London. London: Tate Publishing.

Deleuze, G. (1997) Essays Critical and Clinical. University of Minnesota Press.

Deleuze, G. (2002) Desert Islands: and Other Texts, 1953-1974. Los Angeles: Semiotexte.

Deleuze, G. (1997) Negotiations. NYC: Columbia University Press.

Derges, S. (no date) Susan Derges. Available at: http://susanderges.co.uk/ (Accessed: 6 July 2018).

Dupre, B. (2007) 50 Ideas You Really Need to Know- Philosophy. First. London: Quercus Editions, Ltd.

Durden, M. (ed.) (2013) 50 Key Writers on Photography. First. Milton Park: Routledge, Taylor & Francis Group.

Emerson, R. W. (2000) The Essential Writings of Ralph Waldo Emerson. Edited by B. Atkinson. New York: Modern Library; Random House.

Ewing, W. A. (2014) Landmark: The Fields of Landscape Photography. New York: Thames and Hudson.

Flusser, V. (1983) Towards a philosophy of photography, English. London: Reaktion Books Ltd. doi: 10.1016/S0031-9406(10)62747-2.

Garnett, J. and Meiselas, S. (no date) ‘ON THE RIGHTS OF MOLOTOVMAN Appropriation and the art of context’. Available at: http://www.firstpulseprojects.com/On-the-Rights-of-Molotov-Man.pdf (Accessed: 15 June 2018).

Gerrard, S. (no date) The Dunes. Available at: https://www.sophiegerrard.com/work/the-dunes/.

Gill, S. (no date) Stephen Gill Portfolio. Available at: https://www.stephengill.co.uk/portfolio/portfolio (Accessed: 6 July 2018).

Groom, A. (ed.) (2013) Time. London, Cambridge: Whitechapel Gallery and MIT Press.

Hand, M. (2012) Ubiquitous Photography. Cambridge: Polity Press.

Hariman, R. and Lucaites, J. L. (2016) The Public Image: Photography and Civic Spectatorship. Chicago and London: The University of Chicago Press.

Heiferman, M. (2012) Photography Changes Everything. First. New York: Aperture.

Hendrick, L. E. and Copenheaver, C. A. (2009) ‘Using Repeat Landscape Photography to Assess Vegetation Changes in Rural Communities of the Southern Appalachian Mountains in Virginia, USA’, Mountain Research and Development, 29(1), pp. 21–29. doi: 10.1659/mrd.1028.

Hooper, R. (no date) Jesus, Buddha, Krishna &Lao Tzu: The Parallel Sayings. Charlottesville, VA: Hampton Roads Publishing Company. Inc.

Hume, D. (2015) A Treatise of Human Nature. USA: Jefferson Publication.

Hurn, D. and Jay, B. (2009) On Being a Photographer. Third. Anacortes, WA: LensWork Publishing.

Jay, B. (2000) Occam’s Razor: An Outside-In View of Contemporary Photography. Third. Tucson, AZ: Nazraeli Press.

Johnson P and Rogers, G. (2003) ‘Ephemeral wetlands and their turfs.’, Science for Conservation, 230.

Juniper, A. (2003) Wabi Sabi – the japanese art of impermanance. First. North Clarendon, VT: Tuttle Publishing.

Kempton, B. (2018) Wabi Sabi – Japanese Wisdom for a Perfectly Imperfect Life. London: Piatkus.

Kholief, O. (ed.) (2015) Moving Image. London, Cambridge: Whitechapel Gallery and MIT Press.

Kleon, A. (2012) Steal Like an Artist: 10 Things Nobody Told You about Being Creative, Steal Like an Artist. New York: Workman Publishing Company. doi: 10.1017/CBO9781107415324.004.

Kleon, A. (2014) Show Your Work: 10 Ways to Share Your Creativity and Get Discovered. New York: Workman Publishing Company.

Klett, M. (2003) Yosemite in Time. Available at: http://www.markklettphotography.com/yosemite-in-time/.

Klett, M. (1979) Rephotographic Survey Project. Available at: http://www.markklettphotography.com/rephotographic-survey-project/.

Lao-Tzu (1993) Tao Te Ching. Edited by S. Addiss and S. Lombardo. Indianapolis: Hackett Publishing Company, Inc.

Lao-Tzu (2011) Tao Te Ching: The Book of the Way. Edited by S. Mitchell. London: Kyle Books.

Lebas, C. (2006) Between Dog and Wolf. London: Azure Publishing.

MacCaig, N. (no date) Between Mountain and Sea: Poems from Assynt. Edited by R. Watson. 2018: Polygon Books.

McCall Smith, A. (ed.) (2018) A Gathering: A Personal Anthology of Scottish Poems. London: Polygon Books.

McCullin, D. (2019) Don McCullin. Edited by A. Mehrez. London: Tate Publishing.

Miers, M. (ed.) (2012) Highlands and Islands: A Collection of Poetry of Place. London: Eland Publishing Ltd.

Miller, J. (no date) Unequal Scenes – Locations. Available at: https://unequalscenes.com/projects (Accessed: 4 February 2019).

Misrach, R. and Orff, K. (2010) Petrochemical America. New York: Aperture.

Murray, M. (2017) Saddleworth. Amsterdam: Gallery Vassie.

Murray, M. (2017) Saddleworth. Available at: https://www.matthewmurray.co.uk/saddleworth (Accessed: 25 March 2019).

Muybridge, E. (1979) Muybridge’s Complete Human and Animal Locomotion, Volume III. New York: Dover Publications.

Oorthuys, C. and Zoetendaal, W. van. (1992) Cas Oorthuys, guaranteed real Dutch, Congo. Uitgeverij DUO/DUO. Available at: https://www.google.com/search?q=cas+oorthuys+photographer&rlz=1C1ZKTG_enUS685GB690&tbm=isch&tbo=u&source=univ&sa=X&ved=2ahUKEwj_pd7hrvPeAhUSSK0KHTqoBwIQiR56BAgBEBE&biw=1536&bih=723 (Accessed: 27 November 2018).

Parisi, C. (2010) Essays and Interview with Daniel Gustav Cramer, Klat Magazine #04. Available at: http://danielgustavcramer.com/infotxt.html (Accessed: 1 April 2019).

Pauli, L. (2003) Manufactured Landscapes: the Photographs of Edward Burtynsky. 7th (2014. Ottawa: National Gallery of Canada.

Polanyi, M. (1966) The Tacit Dimension. 2009th edn. Chicago and London: University of Chicago Press.

Ritchin, F. (2013) Bending the Frame: Photojournalism, Documentary, and the Citizen. New York: Aperture.

Ritchin, F. (2009) After Photography. New York: W.W. Norton and Company, Inc.

Rosenfeldt, J. (no date) The Ship of Fools, 2007 | Julian Rosefeldt. Available at: https://www.julianrosefeldt.com/film-and-video-works/the-ship-of-fools-2007/ (Accessed: 17 November 2019).

Rosler, M. (1982) In, Around and Afterthoughts on Documentary Photography in The Contest of Meaning (1992). Edited by R. Bolton. Cambridge, MA: MIT Press.

Schiel, S. (no date) What is Social Landscape Photography? | Teeksa Photography—Skip Schiel. Available at: https://skipschiel.wordpress.com/2016/11/29/what-is-social-landscape-photography/ (Accessed: 13 August 2018).

Sekula, A. (1982) ‘On the Invention of Photographic Meaning’, in Burgin, V. (ed.) Thinking Photography. London: Palgrave Macmillan.

 

 

Shore, S. (2007) The Nature of Photographs. 2018th edn. London and New York: Phaidon Press.Smiles, S. (no date) ‘Critical Contexts’. Available at: http://www.tate.org.uk/research/publications/in-focus/mousehold-heath-norwich-john-crome/critical-contexts (Accessed: 13 April 2018).

Smith, T. (2007) ‘Repeat Photography as a Method in Visual Anthropology’, Visual Anthropology, 20(2–3), pp. 179–200. doi: 10.1080/08949460601152815.

Snyder, J. and Allen, N. W. (no date) ‘Photography, Vision and Representation’, Critical Inquiry, pp. 141–169.

Solnit, R. (2001) Wanderlust: A History of Walking. London: Penguin Books.

Sonnentag, O. et al. (2012) ‘Digital repeat photography for phenological research in forest ecosystems’, Agricultural and Forest Meteorology, 152, pp. 159–177. doi: 10.1016/j.agrformet.2011.09.009.

Sontag, S. (2004) ‘Regarding the Torture of Others’, The New York Times Magazine, (23 May 2004). Available at: ttps://goo.gl/PwSVZ.

Sontag, S. (1977) On Photography. Hammondsworth, UK: Penguin Books Ltd. doi: 10.1007/s13398-014-0173-7.2.

Southam, J. (2007) The Painter’s Pool. Portland: Nazraeli Press.Southam, J. (2018) The Moth. UK: Mack Books.

Stallabrass, J. (ed.) (2013) Documentary. London, Cambridge: Whitechapel Gallery and MIT Press.

Stanford University and Center for the Study of Language and Information (U.S.) (1997) Stanford encyclopedia of philosophy. Stanford University. Available at: https://plato.stanford.edu/entries/deleuze/ (Accessed: 21 December 2018).

Sternfeld, J. (1996) On this site : landscape in memoriam. Chronicle Books.

Sternfeld, J. et al. (2009) Walking the High Line.

Steidl.Stichweh, R. (no date) ‘Systems Theory’. Available at: https://www.fiw.uni-bonn.de/demokratieforschung/personen/stichweh/pdfs/80_stw_systems-theory-international-encyclopedia-of-political-science_2.pdf (Accessed: 12 April 2018).

Suzuki, R. (2015) Stream of Consciousness. Tokyo: Edition Nord.

Suzuki, R. (2017) Water Mirror. Tokyo: Case Publishing.

Szarkowski, J. (1966) The Photographer’s Eye. 7th printi. New York: The Museum of Modern Art.

Tagg, J. (1988) The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press.

Thoreau, H. D. (2017) Walking. Los Angeles: Enhanced Media Publishing.

Thoreau, H. D. (2016) Walden. Milton Keynes: Penguin Random House U.K.

Trachtenberg, A. (ed.) (1980) Classic Essays on Photography. Sedgwick, ME: Leet’s Island Books, Inc.

Vartanian, I., Hatanaka, A. and Kambayashi, Y. (2006) Setting Sun: Writings by Japanese Photographers. New York: Aperture.

von Bertalanffy, L. (2008) ‘An Outline of General System Theory’, Emergence: Complexity & Organization. Emergent Publications, 10(2), pp. 103–123. Available at: http://search.ebscohost.com/login.aspx?direct=true&db=bth&AN=34099391&site=ehost-live.

Walker, J. A. (1997) The Camerawork essays: context and meaning in photography ’, in Evans, J. (ed.). London: Rivers Oram, pp. 52–63.

Webb, R., Boyer, D. and Turner, R. (2010) Repeat Photography: Methods and Applications in the Natural Sciences. Washington, DC: Island Press.

Wells, L. (2015) Photography: a critical introduction. Fifth. London ; New York: Routledge, Taylor & Francis Group.

Wells, L. (2011) Land matters: landscape photography, culture and identity. London ; New York: I.B. Tauris.

Wells, L. (2011) Land matters: landscape photography, culture and identity. London ; New York: I.B. Tauris. Available at: http://www.loc.gov/catdir/enhancements/fy1208/2011293251-b.html.

Wells, L. and Standing, S. (eds) (2009) Relic. First. Plymouth, UK: University of Plymouth Press.

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Zier, J. L. and Baker, W. L. (2006) ‘A century of vegetation change in the San Juan Mountains, Colorado: An analysis using repeat photography’, Forest Ecology and Management, 228(1–3), pp. 251–262. doi: 10.1016/j.foreco.2006.02.049.

Explorations on the Concepts of Place and Non-Place

Posted on Posted in Contextual Research, Final Major Project, ReflectionsTagged , , , , 1 Comment

Place and the concept of place has become an important part of my photographic work. I had a commonly held simplistic view of place for most of my life. Certainly, there were places to which I had a strong connection, and which felt quite different than places for which a connection was less significant or absent, but I didn’t really think beyond the physicality of the space.  A perfect example would be the difference in how I feel about the two places I own homes.  Dornoch in northeast Scotland is where my heart truly lives.  Of the 26 places I have lived in my life it is more home to me than any of the others.  I feel healthier mentally, spiritually and physically there.  In contrast, my South Carolina home is lovely, but I feel no connection to the place or anyone there.  I feel as alien there as if I had set foot on Mars and I am uncomfortable there. But the concept of place has expanded for me by reading the works of Marc Augé (2008) and Jim Brogden (2019) and I have found it has been key to informing my work in Coul Links.

We commonly consider place in terms of the physical; a space occupied by something or someone. Historically, before people were able to travel physically across the globe in hours and virtually across the globe in milliseconds, place was very much about physical proximity, about connectedness to one’s surroundings.  Marc Augé (2008, VIII-IX) notes that while “there are no ‘non-places’ in the absolute sense of the term” there are non-places in anthropological and sociological contexts and that ‘globalisation’ contributes to “unprecedented extension of spaces of circulation, consumption and communication.”

While Augé principally analyses place in terms of globalisation and urbanisation in a phenomenon he terms ‘supermodernity’, Brogden’s view is narrower and focuses on what he terms the ‘cultural erasure of the city’. Both accept that place has elements beyond the physical which are encompassed in the sociological and anthropological significance of spaces.  Both illustrate how more and more ‘places’ have become ‘non-places’ while also accepting that that status is both fluid and bi-directionally reversible, and to a degree subject to individual perception.

“If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place. The hypothesis advanced here is that supermodernity produces non-places…” (Augé, 2008: 63)

“We should add that the same things apply to the non-place as to the place.  It never exists in pure form: places reconstitute themselves in it; relations are restored and resumed in it; … Place and non-place are rather like opposed polarities: the first is never completely erased, the second never totally completed; they are like palimpsests on which the scrambled game of identity and relations are ceaselessly rewritten. (Augé, 2008: 64)

Jim Brogden’s photographic practice focuses currently on the urban landscape and in particular those places which are essentially holes in the urban landscape; places where people once had a presence, and which have been abandoned.  He writes, “By discussing the significance of photographic representations in revealing the meanings attached to the visual evidence of human agency in non-place, I hope to show what people leave behind provides us with important information about why they left it and what it meant to them.” (Brogden, 2019: 111) Brogden’s notion of non-place differs from Augé’s, but both are rooted in the anthropological and sociological significance associated with spaces.

Both use the term palimpsest in their respective discussions of place and non-place.  Coul Links is a landscape that could well be described as a palimpsest.  It has had many uses inscribed upon it over the centuries. It has been a battlefield twice, in the 13th century and again in the 18th just before Culloden, a bombing range during WWII and a burial ground for surplus military equipment, grazing land, farming land, shooting ground, a tip, a tree plantation that has been harvested, home to a railroad through it, golf holes near the Embo school, a Site of Special Scientific Interest, a Special Protection Area and a RAMSAR Wetlands of International Importance treaty site, and likely other uses I have not yet discovered.  It was at one time key to the survival of many residents in the village of Embo, but in the past 50 years has lost much of its former significance to the local population.  It has fallen to neglect and the links land itself sees little human use. Those few who do still use the land do so almost exclusively at the perimeters and then only just.

I believe it is fair to argue that Coul Links while once a place of great significance to the villagers of Embo who survived from the land and the sea, the death of the herring fishing industry and the decline of the need to live from the land caused by taking jobs further afield has decreased the significance of Coul Links and it has become by either Augé’s or Brogden’s definitions a non-place.  It has been largely abandoned and left to rewild and to those that do visit it is often a transient interaction at the fringes.  But as described above, place and non-place are never fully formed and there remain some few people who have a deep and enduring relationship with Coul Links and for who it remains very much, a place.

I came to Coul Links in response to the new significance being attributed to it when a proposal was put forth to add to the palimpsest and build a world class golf course on the site. I came as a stranger, with no sense of its history and with some degree of concern for its future, but over the course of the two years I have spent roaming and photographing Coul Links, I have developed a deep connection to and affection for the uniqueness and complexity of the land itself and its multi-faceted history.  I am endlessly fascinated by the chameleon like response to the force of nature the landscape exhibits.  I am disturbed by the hyperbole and misinformation promulgated by the groups who have opposed the development and their failure to recognise the complex history the site has had.  And I am aware too of the environmental issues extant at this point in human history, both globally and at this place specifically, and the need to proceed carefully and sensitively with any future development.

The proposal to develop Coul Links has to a degree re-established its significance anthropologically and sociologically and begun the process of its re-emergence as a place.  It is something of a reversal of the phenomena described by both Augé and Brogden who note more places becoming non-places in modern society and this I think is an interesting point to note.  It has altered my thinking about Coul Links and when I discussed this point during my talk during my recent exhibition, I found it was the point that resonated most with the people in attendance.  Virtually all local people, they recognised how Coul Links had lost its significance over the years and the how the prospect of another layer on the palimpsest had altered the way in which the site was perceived.

 

References

Auge, M. (2008) Non-Places: An Introduction to Supermodernity. London, New York: Verso.

Brogden, J. (2019) Photography and the Non-Place: The Cultural Erasure of the City. First. Cham, Switzerland: Palgrave Macmillan.

 

Pictures at an Exhibition: Review of Mick Yates’ Unfinished Stories

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Unfinished Stories: Cambodia from Genocide to Hope by photographer Mick Yates opened this week at the Bath Royal Literary and Scientific Society.

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It is not an exhibition of ‘dark tourism’ and avoids the tropes commonly associated with stories about genocides. Rather one is confronted with a series of indexical infrared landscape photographs whose indexicality reveals exactly nothing of the story to the point that they almost become abstractions.  It would be quite easy to dismiss them as “just another landscape photo”, but that would be a mistake. They are each, on the surface, stunning beautiful images. They completely belie the fact that beneath the surface of both the image and the place itself horrific things have happened.  The incongruity is arresting. The viewer is pulled between the abstractness of the imagery and the concreteness of the accompanying Khmer and English words, which too are non sequiturs having nothing whatever to do with the photograph itself.

The photographer, through his long involvement with Cambodia and people like Keo Sarath and Beng Simeth involved in the rebuilding of the education system there, has captured in his imagery a metaphor of the situation in Cambodia today.  On the surface it is a beautiful and vibrant place, but just beneath the surface lurk and linger remnants of the horrors of the past, not only for those who were fortunate enough to have survived the atrocities of the Khmer Rouge and for whom the memories are all too real, but for generations that have come since who had no first-hand experience. It sits like the skeleton in the cupboard everyone is too afraid to open.  It is like a filter that cannot be removed from the Cambodian lens and it still colours day to day life in palpable but mostly unspoken ways.

Yates’ interviews with long time friends, colleagues and survivors who now after more than 40 years are telling their stories for the first time allow us to begin to understand the horrors and the aftereffects of the genocide on Cambodia and its people.  It allows us to begin to make sense of the non-sequiturs in the images and accompanying words.

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This is an extensively researched project and the history placards and displayed ephemera help to contextualise the exhibition.  The book delves into even more depth on the history of the genocide, and its impacts on specific people as related through their stories of survival and the work they have undertaken since to rebuild an education system that was a principal target of the Khmer Rouge genocide. It is a beautifully designed and printed book which, while written in English, was printed in Cambodia as an important element of Yates’ overall project.

History placard
Ephemera display

The final incongruity involves the venue itself, decorated for the Festive season while displaying an exhibition about the Cambodian Khmer Rouge genocide and its aftermath. Yet perhaps it too can be viewed through a metaphorical lens in that this season represents rebirth and renewal and is itself a great symbol of hope. Hope is what Yates, his family and Cambodian friends and colleagues like Keo Sarath and Beng Simeth have been trying to build for the past 20 years and that work continues.

Ashley Rose

6 December 2019

Mick Yates and Keo Sarath
Mick Yates
Keo Sarath

 

MA Bibliography as of 10 April 2019

Posted on Posted in Contextual Research, Coursework, Informing Contexts, Project DevelopmentTagged , , , , , , Leave a comment

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Week 8 – Additional Reading and Research

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I have recently acquired a copy of Risaku Suzuki’s book Water Mirrors.  It is not only a beautifully constructed book physically, but the imagery is very much related to recent work I have been undertaking. There are no introductions to the book and no captions, just photo after photo.  At the end is an essay by art critic Yuri Mitsuda which I found equally interesting with regard to informing my work.

Mitsuda writes “What’s mirrored in the water are the trees surrounding lakes and marshes.  The relaxed density of the branches extending toward the lakes form something like a nest that surrounds and protects the quiet water.  Just as with a mirror, the trees are captured in the water that reflects them.  In water, the leaves are shown in utter verisimilitude, making it impossible to distinguish the reflections from the actual trees standing in the soil and air. The result is a simulacral mime that exists only within the photographs. These scenes would not exist without the intervention of the camera and the lens.”

“When the photographer tosses a rock into the water, the rock creates rifts and turns the water inside out, rustling the surrounding trees.  A fluid image resembling an abstract painting appears in the photograph…When the water surface is cut up by a fallen tree, moving water is juxtaposed against still water, bringing disparate temporalities of the material in contact with each other and producing details that fascinate endlessly.” (Suzuki, 2017)

Suzuki WM_653 2016
Suzuki WM-653 2016

While there is more that could be quoted, I think for now it is enough to show how my work has taken a similar turn.

072A0727
Rose Coul Glade 2019

Paul suggested I also look at the work of fellow Falmouth student Isabella Campbell and I discovered she too is pursuing similar subjects and aesthetics.  An example of her work shows the link between Suzuki and my recent work.

Campbell LANDINGS-11 2018
Campbell Landings -11 2018

I have also begun reading Setting Sun: Writings by Japanese Photographers and two different books on Wabi Sabi, one by Andrew Juniper (2003) and the other by Beth Kempton (2018).  I have long held an affinity for Japanese culture, philosophy and aesthetics and I am finding as I research more how much my work and the subjects I photograph resemble what I am reading in the writings and observing in the photographs.  I have mentioned before that the house I designed and built in 2006 contains a great deal of Japanese influence and features normally only found in Japanese houses. That influence runs strongly in everything I do.

Shigeo Gocho in his essay Photography as Another Reality, in Setting Sun writes: “Things that some people can see, other people cannot. Things that some people can hear, other people cannot.  I once wondered if such a thing was possible, but now I understand it as a matter of distance between reality and fantasy.  It is also a matter of how each specific person places himself in this temporal world, as the image of the world is dependent upon this relationship…No matter how much one might say that it presents pure fantasy or delusion, photography is about capturing an image of the outside world, which means that a photograph is only possible if it uses reality as a go-between.” (Vartanian, 2006: 52-53)

Setting Sun is filled with so many gems that absolutely find a home in my head and heart.  I have found myself needing through the course of this module to be far more introspective about my photography and the reasons for than ever before.  I truly never thought much about and just did what I did. Reading and researching has certainly provided a framework for examining what I do and why and while it is still evolving certain elements have begun to gel in my mind. I asked myself the question “Why do I photograph nature?”

Out amidst nature was always the place that I could go to be myself and exist without judgement.  I look at Nature and Nature looks back at me and says “welcome, we are.”  People on the other hand judge and seek to separate and categorise.  They look at me and say “you are X.”  All the people who have ever existed are a single mere speck of dust in geological time.  It is very likely humans will not endure as a species and Nature will reclaim them as geological time moves on.

I suppose that this is one of those areas of difference in Western and Eastern philosophies.  The West has long held a man versus nature philosophy where nature must be conquered and tamed. It for that matter extended to the idea that “civilised white” people were at the evolutionary pinnacle and anyone who did not fit in that box was just another animal to be conquered and tamed.  In contrast, the Eastern philosophies address the art of being in the world beginning with Tao and flowing with the watercourse way and evolving in to Zen which teaches we are part of everything we perceive.  There is something at my core that recognises the latter and that is part of what continually draws me away from most people and to the untamed places where I can best be my untamed self.

References:

VARTANIAN, Ivan, Akihiro HATANAKA and Yutaka KAMBAYASHI. 2006. Setting Sun: Writing by Japanese Photographers. New York: Aperture.

JUNIPER, Andrew. 2003. Wabi Sabi – the Japanese Art of Impermanance. First. North Clarendon, VT: Tuttle Publishing.

KEMPTON, Beth. 2018. Wabi Sabi – Japanese Wisdom for a Perfectly Imperfect Life. London: Piatkus.

SUZUKI, Risaku. 2017. Water Mirror. Tokyo: Case Publishing.

Week 8 – Responses and Responsibilities

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Are we desensitised to images of conflict today?

Can imagery provoke change – can it be the catalyst between thought and action?

Desensitisation has resulted as much through censorship and editorial acquiescence to perceived ‘sensibilities’ as it has to saturation of images.  It is the rare photograph of the burning Jordanian pilot or the burned Iraqi soldier that makes publication. The outrage after 9/11 of the photo of the severed hand is an everyday occurrence in a conflict zone.  Landmines, IEDs, and cluster bombs are just some of the horror inducing factors that prey not only upon the combatants, but the innocent.  How often have you seen a disembowelment or a dismemberment other than in a Hollywood movie where we all know it is nothing but special effects and no one was harmed in the filming?  Well look around and see how many soldiers have come home missing limbs. We are shown the aftermath and we all feel sorry for the poor soldier, but we don’t really know and therefore do not really care about the actual event that tore limbs from that person’s body.  How many children have been destroyed by landmines left behind?  We don’t know because no one takes or will show those photos and so we don’t care because it is not in our back garden and we don’t have to worry about where we walk or dig to plant our flowers or tatties.

An article in the Washington Post from 14 Mar 2019 is a perfect example of the censorship that goes into keeping people from seeing what really goes on in conflict.

“The Marines don’t want you to see what happens when propaganda stops and combat begins”

https://www.washingtonpost.com/arts-entertainment/2019/03/14/marines-dont-want-you-see-what-happens-when-propaganda-stops-combat-begins/

 

“The true horror of what is shown in the photographs cannot be separated from the horror that the photographs were taken.” (Sontag: 2004)

Perhaps the true horror is that photographs that should be taken or published are not seeing the light of day.  Perhaps we, particularly in Western society, have become too comfortable and complacent.  It is only when terror touches our lives directly that anyone sits up and takes notice, for a minute.  There are horrible things happening in every corner of the planet every day, example after example of man’s inhumanity to man, people suffering from overpopulation, disease, famine, lack of opportunity, social and racial oppression, war while we sit home and complain when our internet signal is too slow.  Yes, these are all big issues and they require political solutions on a massive scale such that no single one of us could buck that tide.  But if everyone buries their head in the sand there is no hope for anything but the status quo, while on the other hand if everyone went from a momentary “too bad for those poor people” to getting into the dialogue, then perhaps finally ‘thoughts and prayers’ could really become actions and results. And I am as guilty as the next person.

I suspect the question of whether a photograph can provoke action is actually a somewhat specious linkage of cause and effect.  Western societies have become increasingly egocentric in character, and while there are many even within these societies suffering, the inertia associated with comparatively comfortable lives is difficult to overcome.  My experience tells me that any stimulus, photograph or otherwise, is most often dismissed as “other” until the event in question directly touches the viewer.  Many of us live in cocoons of familiarity and believe there is more than enough to do to maintain the integrity of those cocoons, rather than reaching out to right wrongs we can see but can also easily ignore until they penetrate our cocoons.  And in fairness, the amount of strife, suffering and injustice is overwhelming.  Just thinking about it is enough to drag most people in the depths of despair and depression.  No one person can solve it all.  I don’t know how we motivate enough people to each do just a little bit to make a difference, but as much as I would like it to be so, I don’t think photographs, at least the ones allowed to go to print today, will do it.

The problem of malappropriation and the ability to reshape the meaning are equally significant problems inherent to the photograph.  Written essays are more difficult to reshape to a different purpose.

“The photographer’s intentions do not determine the meaning of the photograph, which will have its own career blown by the whims and loyalties of the diverse communities that have use for it.” (Sontag, 1977: 3)

The well documented example of the UKIP Brexit refugee photo is a perfect example, but also it is not difficult to see how the ISIS “execution” photo in this week’s course material could be used by someone of a different political persuasion to illustrate their point of view.  The fact that ISIS did not execute these people and their purpose was to make an argument they were not criminals (true or not) could certainly have been (and probably was) used to claim ISIS are savage by simply claiming the executions did take place.  Since no editor in the Western press would likely ever print a photo of 10 heads simultaneously spewing blood and brain tissue toward the camera, we are forced into ambiguity that can be easily manipulated to different purposes.

“In these last decades ‘concerned photography’ has done at least as much to deaden our conscience as to arouse it.” (Sontag, 1977: 21)

I would argue that photographic and editorial censorship and violence as entertainment have done far more to deaden our collective conscience than ‘concerned photography’.  How frequently have we heard the statement, war is okay until the public start seeing the body bags coming home?  How much effort has been put into shielding the public from the realities because the leaders are afraid of the political fallout?  Most of the US Congress have never served in the military and many of their children will not either, so there is little personal risk to them in sending someone else’s children into battle.

 

References:

SONTAG, Susan. 2004. ‘Regarding the Torture of Others’. The New York Times Magazine (23 May 2004), [online]. Available at: ttps://goo.gl/PwSVZ.

SONTAG, Susan. 1977. On Photography. Hammondsworth, UK: Penguin Books Ltd.

Week 5 Reflections – Labels and Gazes

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I have been enjoying the journey of this MA course and how it has helped me to discover a new language for thinking about and talking about the world around me.  I have spent many hours reading the luminaries of photographic critical theory and trying to find relevance to my world and my work.  I have found myself far better able to examine others’ images and articulate something more than whether I liked it or not.

I have enjoyed the deconstruction of my own practice as I search for what things are essential to me and my work, though I have found this aspect perhaps the most difficult part of the course. And I think it is more difficult in part because it is a moving target and hopefully always will be to a degree.  Humans are transient beings in an ever-changing world.  I am an unfinished project that I hope is only completed when I take my last breath.  I seek to know myself and my place in the world well enough to recognise, appreciate and enjoy the subtle evolution and variations in myself and the world around me and greet them with joy.

I have been struck how these new tools in my kit bag have found their way in and out of other aspects of my life.  For example, I have written before and speak frequently about my aversion to labels.  The following scene from Season 2 Episode 2 of the Netflix production Sense8 seemed a perfect example.  I have edited it slightly for clarity.

“I just want to understand.” 

“No, you’re not trying to understand anything because labels are the opposite of understanding.

What does courage have to do with the colour of a man’s skin” 

“Who are you?“

“Who am I? – Do you mean – where I’m from? What I one day might become? What I do? What I’ve done? What I dream? Do you mean what you see? What I’ve seen? What I fear What I one day might become? Do you mean who I love? What I’ve lost? – Do you mean what I’ve lost? “ 

“Who am I?  I guess who I am is, exactly the same as who you are; not better than, not less than. Because there is no one who has been or will ever be exactly the same as either you or me.”

Sontag wrote:

“Photography implies that we know about the world if we accept it as the camera records it.  But this is the opposite of understanding, which starts from not accepting the world as it looks. (ed. Or as someone else has labelled it) All possibility of understanding is rooted in the ability to say no.  Strictly speaking, one never understands anything from a photograph.” (Sontag, 1977: 23)

When we choose to, or allow someone else to label a person, a photograph or a photographer using a broad brush we abdicate our responsibility to consider the worth of the person as an individual or the work on the specific merits of each piece.  There are not hard and fast lines and we cannot come to any real understanding if we continue to draw them or accept someone else’s drawing of them.

In another Sense8 scene from Season 2 Episode 1 illustrates the point that the reading of an image is not only largely in the hands (mind) of the viewer but serves as a window into the psyche of the viewer as his or her reading is greatly influenced by the filters, biases and cultural setting that viewer brings to the reading.

“Art is material. 

It is wed intractably to the real world, – bound by matter and matters.

– [phones beeping] – Art is political.

– [phone vibrates] Never more so than when insisting it is not.

Art is dialectic. 

It is enriched when shared and impoverished by ownership and commodification.

It is a language of seeing and being seen.[low chuckles, murmurs]

Uh, would someone care to fill me in on the joke here?

Yes.Totally.[laughter] Is this art, Mr. Fuentes? [low chuckles]

Is it art, Mr. Valles? What do you think? Why don’t you tell us what you see?

Looks like shit-packer porn.[low murmurs, chuckles]

“Shit-packer porn.” That is; That is very interesting. Yeah, because this is where the relationship between subject and object reverses. The proverbial shoe shifting to the other foot. And what was seen now reveals the seer. Because the eyes of the beholder find not just beauty where they want, but also shallowness, ugliness, confusion, prejudice. Which is to say the beholder will always see what they want to see, suggesting that what you, Mr. Valles, want to see is in fact shit-packer porn. [class chuckling] Whereas someone else, someone with a set of eyes capable of seeing beyond societal conventions, beyond their defining biases, such a beholder might see an image of two men caught in an act of pleasure. Erotic to be sure, but also vulnerable. Neither aware of the camera. Both of them connected to the moment, to each other. To love. And as I have suggested before in this class art is love made public.” 

While I have been unable to find the one definitive reference that I feel reasonably sure I have seen or heard somewhere, it is safe to say that before this course this scene would have passed me by with not a second thought.  There are elements of Foucault, Berger, Brazin, Lacan, Silverman’s Screen Theory and others that are alluded to in the prior scene.

I do subscribe to the concept of the triangle of between the Subject – Photographer – Viewer, but I also believe the balance of power dynamic between them shifts during the life cycle of a photograph and is greatly influenced by contextual clues found in accompanying text, or in where the work is seen.  I also believe the power shifts predominantly to the viewer once the photograph leaves the direct control of the photographer and that regardless of the context most viewers will see only what their cultural and personal conditioning will allow them to see.

References

SONTAG, Susan. 1977. On Photography. Hammondsworth, UK: Penguin Books Ltd.

Sense8, Season 2, Episodes 1 and 2. 2015. Netflix

 

Week 4 – Into the Image World: Reflections

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I quite understand the use of advertising images to illustrate the points in this week’s material.  However, despite the fact that we are surrounded by these images daily, I found this rather difficult because for many years I have ignored them completely.  They have become noise to me.  I rarely watch them on the TV as I don’t watch much broadcast programming and it is only when I am in the market for something particular will I look for info on the product, and even then, I bypass the advert to look at the product itself in more detail.  I cannot say I am never swayed to look at something when I happen to see a clever ad, but it is quite rare.

Ads rarely capture my attention, but photos in an editorial context often do.  An example from the 21 February 2019 edition of the Wall Street Journal is below.  Self-admitted gearhead and former racing driver that I am and despite not generally being all that fond of Ferrari, this one stopped me in my tracks.

Ferrari Pista -WSJ 21Feb19

GIMME A BRAKE The flashy Pista can go from 0-62 mph in 2.85 seconds and return to a dead stop in 93.5 feet. Photo: Ferrari

And I find it an interesting photograph to try to analyse as part of this week’s exercise.  The denoted (signified) image is quite simple to discern.  The bright red image of a $450,000 super car with extraordinarily beautiful lines is rather impossible to miss on the tarmac.  Judging by the tire marks on the tarmac the car was repositioned at least a couple of times to get the angle of the light reflecting off the bodywork just right; the car was carefully posed. There is nothing to distract from this signifier and its placement along the diagonal further clarifies its dominance.

The connoted image is surprising more complex for such a visually simple and uncluttered image.  In concert with the caption it is clear this is very high-performance automobile borrowing aerodynamics and other design elements from F1 and GTP racing platforms.  There is surface beauty to be sure, but it is more than skin deep as this car is loaded with performance technology.  I suspect that the principal, though not exclusive, demographic Ferrari appeal to are men 30-55 with plenty of discretionary spending power.  This is a wealthy person’s toy, perhaps a symbol of status, and something that screams ‘look at me’ for the owner that wants to be noticed everywhere they go.

An oppositional view might be something along the lines of who needs a $450,000 car that can do 211 mph that hasn’t room in the boot for hardly an overnight bag.  It might be the red colour or the racing stripe that seem pretentious, or that Ferrari are notoriously difficult and expensive to maintain. Or it might be that a car such as this must use a tremendous amount of fuel and is therefore environmentally irresponsible.  It is absolutely not the car for someone who does not wish to advertise their wealth or someone in need of practical transportation.

I am a bit fuzzier on the negotiated view.  Perhaps it is along the lines of; it is a well-executed photograph of a beautiful, but altogether impractical and for most unattainable car.  In other words, wow that is nice, but…

 

Week 4 – Contextualising Work

Posted on Posted in Contextual Research, Informing Contexts, ReflectionsTagged , , , , Leave a comment

Since the beginning of the MA course, the Cromarty Cohort has had a very active and useful WhatsApp group that has been a great source of support and discussion.  I have learned perhaps as much from the interactions with my cohort as I have from the formal coursework.  It has been a place of inspiration, mutual support, friendship and quite often sanity preserving humour.  I truly treasure these relationships.

Quite often, we have had extraordinary debates on wide ranging topics and just as often we lean on each other for advice, critique and the knowledge that comes with experience.  I have not been particularly good yet at critiquing my own work and I attribute that in part to not yet being entirely certain of what I want to do.  But the course, my independent reading, and the interactions with my peers has given me a new base of knowledge, a new vocabulary, and a basis for applying the critical thinking skills honed over 40 + years of working to begin better contextualising photographic work.

What follows is a discussion with Mick Yates about his work currently underway in Cambodia.  We had talked a length before the trip about his goals and concerns.  After his second day of shooting he posted a couple of photos from the day’s work on our WhatsApp forum.  With Mick’s permission I am posting the main bits of our ‘conversation’ which proved useful for us both I think.  I find it easier to have this discussion about someone else’s work than my own, but I know when it is time to talk about mine, I know my cohort will be there for me.  In the meantime, it was enlightening to talk about Mick’s challenges all the while realising I needed to be thinking, not the same things, but in the same way.

At the very outset there were a few comments by others in the cohort, and there were a few asides that were not directly relevant to the thread that have been edited to enhance clarity.  What follows though is the main conversation between Mick and me in its entirety.   The photographs are all Mick’s work taken with an infrared camera today in Cambodia.

[01:49, 2/16/2019] Yates, Mick: May they rest peacefully

Yates 2019 IR_01
Mick Yates Feb 2019

[01:49, 2/16/2019] Yates, Mick: Cheoung Ek, the Killing Fields

Yates 2019 IR_02
Mick Yates Feb 2019

[06:42, 2/16/2019] Yates, Mick: Too pretty?

[08:42, 2/16/2019] Ashley Rose: It depends on whether your story is about the genocide or really about the people who survived it and what Cambodia is today.  Are the Killing Fields sources of hope that horror can be overcome, or are they an ever present pall of death that no one in Cambodia can ever escape? These may not be the right questions, and they are certainly not the only questions, but I believe they may be the kind of questions you need to be asking before you exhaust yourself physically and emotionally taking photos that you that either do not meet your needs or actually work against them.

[08:43, 2/16/2019] Yates, Mick: Very fair

[08:44, 2/16/2019] Yates, Mick: I think it does depend on the audience. In Cambodia, it must be about hope. But in the West, whilst it is hope, it’s also fundamental education, with all the horror that entails

[08:54, 2/16/2019] Ashley Rose: It is hard to see horror in any of the landscapes you have taken.  Nature has taken it back, covered it up and erased it from the possibility of discovery by anyone who hasn’t been through what happened there.  There is horror inn the museums.  You would perhaps have to go Jo Hedwig Teeuwisseor or Sergey Larenkov to convey what happened there to Western audiences

[08:54, 2/16/2019] Yates, Mick: I don’t know them – will look. Thanks

[08:55, 2/16/2019] Yates, Mick: I really don’t like the Museum stuff

Yates 2019 IR_03
Mick Yates Feb 2019

[08:56, 2/16/2019] Yates, Mick: Boring ..

[08:56, 2/16/2019] Yates, Mick: Nature never gave it up so reclaiming is easy. Humans are just a temporary thing

[08:57, 2/16/2019] Ashley Rose: Agree and it has all been seen before.  Larenkov and Teeuwisseor both did Ghosts of WWII series superimposing old images on modern scenes to show what happened there

[08:57, 2/16/2019] Yates, Mick: Though interesting how IR takes out shades and details

[09:00, 2/16/2019] Yates, Mick: I think there may be more horror in the negatives

[09:00, 2/16/2019] Yates, Mick: The problem of aftermath

[09:07, 2/16/2019] Yates, Mick: Even Sophie Ristelhueber, who I love and who ‘invented’ aftermath is almost forensic. No emotion

[09:11, 2/16/2019] Ashley Rose: Yes, and that begs the question, where is Cambodia now, and where does what happened factor into today.  Every day people who were there are dying.  More and more of the population knows of it only second hand.  Is the point to get past it or is the point to hang on to it or is the point that there are forces that want to shackle the younger generations to their inescapable past? Is there something in the Cambodian psyche that suggests this could happen again at any moment or is this something that people think can never happen again?  Is there a shift in mindset between Sarath’s generation and his grandchildren’s? Is this an aftermath story that is far enough removed from the event that the horror can be treated lightly, almost in passing as you focus on Cambodia today, or are there dark forces still at work to whom the past is closely tied that are getting in the way of the current generations progress and escape from the past?  So many questions, but all key to framing the story and guiding your shooting.

[09:11, 2/16/2019] Yates, Mick: All good Qs, Ash. Very good

[09:14, 2/16/2019] Yates, Mick: I guess a similar logic might apply to the Holocaust. Maybe we should all just forget it?

[09:27, 2/16/2019] Ashley Rose: I did not mean to suggest the past should be forgotten, but in fact many have.  It begs the question of where is the balance between remembering the past and how it affected where we are today and dwelling in it? Does that balance shift over time?   I am not naïve enough to think genocide can’t happen again, but I would like also to think that it couldn’t go on for the length of time the Nazis did without the world knowing and reacting.

[09:28, 2/16/2019] Yates, Mick: Ironically, as I have discovered in reading, the world actually did know, but the UK and US governments chose not to believe the Soviet/Polish propaganda. Another story

[09:29, 2/16/2019] Yates, Mick: Your point stands, though

[09:30, 2/16/2019] Yates, Mick: One of the Cambodian challenges is that there was no ‘other’ so it was like the Chinese Cultural Revolution

[09:31, 2/16/2019] Yates, Mick: Self-Genocide in fact

[09:35, 2/16/2019] Ashley Rose: And I can’t imagine that isn’t a bit frightening at least to the older folk who experienced it.  The thought that your neighbour was involved in slaughtering thousands for no good reason.  Zealots and ideologues are scary people.  And that undercurrent is resurfacing in many places in the world.  Does this suggest a cautionary tale?  Does the current flavour of KR harbour any allusions of the past?

[09:37, 2/16/2019] Yates, Mick: Agree. The vast majority just want to move on. But as I have discovered time and again, a simple conversation leads to all kinds of memories and questions. Every day I am here

[09:38, 2/16/2019] Yates, Mick: Maybe I am the one that needs to let this go

[09:43, 2/16/2019] Ashley Rose: Is there an element of outsider gaze tied to your history that affects your current perceptions and has the fact that you had a wee break from the heavy involvement meant that you missed a subtle shift in where Cambodia is today compared to say 15 years ago?  Not meant to be in any way disrespectful, just a question.

[09:48, 2/16/2019] Yates, Mick: It’s a great question. I think that when we started this, 20 years ago, there was def an outsider gaze. I mean, we paid for schools that the country couldn’t afford. Imperial, what? But we never saw it that way ofc. We did try to learn and be part of the whole, though it was hard.

Now, I find myself deeper. When the people I am working with no longer know all the answers – and in fact find new things because of this activity, it’s become even more personal.

Is there a shift here? Sadly, no. This is all buried and has been for a long time. The closest parallel is China I think

[09:52, 2/16/2019] Ashley Rose: Is that parallel to China in some way an angle from which to approach the story?  And if so, why does that similarity exist? Is it political, deeper cultural similarities, etc?  Sorry if I am droning on too long.  I am sure you must be exhausted, and my day is only beginning.  Lots to do before I get on a plane Monday morning.

[09:55, 2/16/2019] Yates, Mick: The parallel is the Cultural Revolution – The KR executed it on steroids. The disconnect is that Deng Xiaoping saw that prosperity for all was key – and consigned the Gang of Four to the trash can of history. Neither have really happened here, so no release

[09:56, 2/16/2019] Yates, Mick: No closure and a very uncertain future in other words

[09:59, 2/16/2019] Ashley Rose: And that perhaps is the heart of the story and how today is affected by the past. That comparison to China may be useful as a foil to show how Cambodia has become mired.

[10:03, 2/16/2019] Yates, Mick: Well, yes, though this is an MA not a PhD

[10:03, 2/16/2019] Yates, Mick: Not making light of your comment – it’s totally right

[10:37, 2/16/2019] Ashley Rose: And it is a practical degree not a dissertation project.

[10:37, 2/16/2019] Yates, Mick: Also true

 

Thank you to Mick for the conversation, and for permission to post it and his work to my CRJ.  This is merely one example in a year’s worth of great conversations, debates, and discussion between us that has made my experience on the MA all the richer.