Hiroshi Sugimoto has been working on this project since the 1970's. He takes his large format camera into the theatre and exposes the film for the duration of the screening. It's beautiful.
Showing posts with label screen. Show all posts
Showing posts with label screen. Show all posts
Wednesday, 30 April 2008
Wednesday, 16 April 2008
the matrix
I hate going to the library. I really like books though. But it's too time-consuming, and there's too many options. The pile gets too big, too heavy, and I tend to attract fines. And its not pretty like Metropolis or Readings or welcoming like Borders. I think a coffee shop would help.
Anyway, I went there on Monday. I got Liz Well's Photography Reader, Ansel Adams' The Camera, Caponigro's Adobe Photoshop Master Class (2003!!) a novel by George Orwell, and a couple of doco's on Ansel Adams and Bill Henson.
I should have only got one. But I knew I'd want more. I've been trying to read them... but I'm suffering from a mild case of infomania. It's ridiculous. Part of my interest and desire to do this project is to try and cure myself of this craziness... but I love it, I'm addicted to it. I tell myself I love learning but I think it's something more.
The process of reading textbooks is something I think I have to reaccustom myself too. Each page, paragraph, sentence, term lends itself the opportunity for associations and further thought. There's so much to consider, and you probably bring even more with you. The problem is in the pace. When reading textbooks, you control the pace at which you assimilate the information. The problem with that for me is that I'm too easily distracted. It takes a good narrative hook, or reward system, to keep me going. I'm a result of 21st century consumer society, always hungry for more, bigger, better faster! And I only just really realised that now. Which is proof enough for me. I feel a bit like Neo in The Matrix... less the Hollywood heroism and fighting a bit more apathy.
The novel is by Orwell, so its more nutritious in popular opinion than tv or film, but still junk food compared to Adams' The Camera (deceivingly simply title). But novels are narratives. I can handle them in length, because I know that's the format. Not as easy as a good magazine article, but ultimately more satisfying, in the same way watching the entire series of Buffy is so much more powerful than even the greatest character development in a wonderful film. There's a joy in the slow change, and its broken up by constant events.
Screen based media is another story. It's designed to flow. So much so that we psychologically can't, or really don't want to tear ourselves away. The role of the viewer role is so much more passive. I heard once somewhere (no doubt from a very unreliable source), that you have more brain activity while your asleep than when watching tv. That's why I got the doco's. I like the passivity. And perhaps that's the answer to my riddle.
Why do we love the screen? Beacuse we love being passive.
But that doesn't exactly fit with the whole gaming subculture...
Anyway, I went there on Monday. I got Liz Well's Photography Reader, Ansel Adams' The Camera, Caponigro's Adobe Photoshop Master Class (2003!!) a novel by George Orwell, and a couple of doco's on Ansel Adams and Bill Henson.
I should have only got one. But I knew I'd want more. I've been trying to read them... but I'm suffering from a mild case of infomania. It's ridiculous. Part of my interest and desire to do this project is to try and cure myself of this craziness... but I love it, I'm addicted to it. I tell myself I love learning but I think it's something more.
The process of reading textbooks is something I think I have to reaccustom myself too. Each page, paragraph, sentence, term lends itself the opportunity for associations and further thought. There's so much to consider, and you probably bring even more with you. The problem is in the pace. When reading textbooks, you control the pace at which you assimilate the information. The problem with that for me is that I'm too easily distracted. It takes a good narrative hook, or reward system, to keep me going. I'm a result of 21st century consumer society, always hungry for more, bigger, better faster! And I only just really realised that now. Which is proof enough for me. I feel a bit like Neo in The Matrix... less the Hollywood heroism and fighting a bit more apathy.
The novel is by Orwell, so its more nutritious in popular opinion than tv or film, but still junk food compared to Adams' The Camera (deceivingly simply title). But novels are narratives. I can handle them in length, because I know that's the format. Not as easy as a good magazine article, but ultimately more satisfying, in the same way watching the entire series of Buffy is so much more powerful than even the greatest character development in a wonderful film. There's a joy in the slow change, and its broken up by constant events.
Screen based media is another story. It's designed to flow. So much so that we psychologically can't, or really don't want to tear ourselves away. The role of the viewer role is so much more passive. I heard once somewhere (no doubt from a very unreliable source), that you have more brain activity while your asleep than when watching tv. That's why I got the doco's. I like the passivity. And perhaps that's the answer to my riddle.
Why do we love the screen? Beacuse we love being passive.
But that doesn't exactly fit with the whole gaming subculture...
everything is illuminated
Now that I've narrowed the subject matter down to people engaging in screen-based (mostly narrative-driven) activities, I have to deal with the technical realities of it. Many of these devices (mp3 players, cameras, portable gaming consoles & mobile phones) illuminate the face of the viewer. But not well enough for photography in the lighting conditions I want (dark, Crewsonesque). So I'm going to need to increase the radiant glow. This is what I will need:
- unwanted device bodies
- used disposable camera's (for the flash)
- someone on instructables, photojojo, makezine, or maybe even flickr groups to have already worked it out for me.
- some kind of diffusing system, probably gels too.
Or maybe a snoot or two will do the trick? I really want light to play a big part in this. I want it to be beautiful... not just a means to an end.
Time to experiment. And research... I'm sure this has been done countless times before.
- unwanted device bodies
- used disposable camera's (for the flash)
- someone on instructables, photojojo, makezine, or maybe even flickr groups to have already worked it out for me.
- some kind of diffusing system, probably gels too.
Or maybe a snoot or two will do the trick? I really want light to play a big part in this. I want it to be beautiful... not just a means to an end.
Time to experiment. And research... I'm sure this has been done countless times before.
Thursday, 3 April 2008
narrative or technology?
I'm writing my project proposal. My sister and friend are in the same room watching Buffy. It may seem ironic (or normal!), but I'm really struggling to distract myself from it, or perhaps not allow myself to become distracted.
Is it the pretty glow radiating from the screen? The engaging and attention seeking soundtrack? Or because (in JD from Scrubs' words), I'm a self-saboteur? Is it based in the opportunity for narrative absorption, escapism? If so, is it because we enjoy narrative, because it explores themes and issues that we all deal with, the human condition, and the writers have managed to make sense of it. There's resolution, motivation, reason. And a formula to boot. Answers, unfolding right in front of us. The alternative; life, is (seemingly) never-ending. We rarely experience the satisfaction of complete resolution. Narrative provides us with the satisfaction of resolution.
And if the desire for narrative is the main driving force behind our escapism tendencies, as opposed to the new opportunities provided by technology, then we have a long and complex history to deal with... perhaps beginning with the Dreamtime stories. But then you raise a whole new set of questions. Are stories created for entertainment or educational purposes?
Another series of issues to continue to explore.
Is it the pretty glow radiating from the screen? The engaging and attention seeking soundtrack? Or because (in JD from Scrubs' words), I'm a self-saboteur? Is it based in the opportunity for narrative absorption, escapism? If so, is it because we enjoy narrative, because it explores themes and issues that we all deal with, the human condition, and the writers have managed to make sense of it. There's resolution, motivation, reason. And a formula to boot. Answers, unfolding right in front of us. The alternative; life, is (seemingly) never-ending. We rarely experience the satisfaction of complete resolution. Narrative provides us with the satisfaction of resolution.
And if the desire for narrative is the main driving force behind our escapism tendencies, as opposed to the new opportunities provided by technology, then we have a long and complex history to deal with... perhaps beginning with the Dreamtime stories. But then you raise a whole new set of questions. Are stories created for entertainment or educational purposes?
Another series of issues to continue to explore.
Wednesday, 2 April 2008
artists statement
A Chaotic New World - faq
Modern western civilisation, especially current generations, are exposed to the biggest height in consumer culture and globalisation in history. The effects have imbedded themselves so extremely in our lives that it’s almost impossible to notice. In fact, we are, in many ways for many reasons, conditioned not to. It reminds me of a saying about trees and the forest.
Q. How do we deal with it all?
A. Escape.
Q. How do you do it?
A. Be somewhere else. An alternative reality or perception often works.
Q. Where can we find these alternatives?
A. Just look into a television, computer, phone, iPod, camera, etc. Generally somewhere with a screen.
Q. Why a screen?
A. People are attracted to light. Stimulation. Escapism. There’s often some form of narrative happening. It helps aid distraction.
Q. Why do we do this?
A. Life is difficult. There’s a lot going on. Time is precious. When we can, we prefer not to get too bogged down in it all. It’s a bit contradictory though, because we’re generally looking for stimulation. Stimulation is information. And if we use narrative as an example, the more chaos, stimulation, and information, the deeper we can immerse ourselves in it, and the deeper the immersion, the more we enjoy that distraction.
Q. That sounds a bit complicated… chaotic even.
A. That’s how it is for me. I want to dissect it all. So that it’s less chaotic. We think we like order more than chaos. Like anything, it’s not that simple. I’m going to try and work it all out using images. To create some kind of order out of this mess.
Q. How? Why?
A. We’re exposed to over 30,000 images every day. We understand them. How to read them, what they mean. We’re still susceptible to their manipulation, which is another theme I hope to explore. I believe images are the primary form of escape. So it makes sense to use them to communicate my findings.
How will your images illustrate your findings?
I’ll shoot images of people while they’re in the state of escape. This will at first appear meaningless, it’s something we see all the time. Which is part of the point, because we are so immersed in it. The form of the images, my choice of communication method; the fine art print, in an exhibition setting, will suggest that there’s more to it than that. The elements and construction of the images will provide clues for the viewer to read. Ideally, after a bit of consideration, the viewer should be able to understand the meaning and metaphors I have placed within the photographs.
Modern western civilisation, especially current generations, are exposed to the biggest height in consumer culture and globalisation in history. The effects have imbedded themselves so extremely in our lives that it’s almost impossible to notice. In fact, we are, in many ways for many reasons, conditioned not to. It reminds me of a saying about trees and the forest.
Q. How do we deal with it all?
A. Escape.
Q. How do you do it?
A. Be somewhere else. An alternative reality or perception often works.
Q. Where can we find these alternatives?
A. Just look into a television, computer, phone, iPod, camera, etc. Generally somewhere with a screen.
Q. Why a screen?
A. People are attracted to light. Stimulation. Escapism. There’s often some form of narrative happening. It helps aid distraction.
Q. Why do we do this?
A. Life is difficult. There’s a lot going on. Time is precious. When we can, we prefer not to get too bogged down in it all. It’s a bit contradictory though, because we’re generally looking for stimulation. Stimulation is information. And if we use narrative as an example, the more chaos, stimulation, and information, the deeper we can immerse ourselves in it, and the deeper the immersion, the more we enjoy that distraction.
Q. That sounds a bit complicated… chaotic even.
A. That’s how it is for me. I want to dissect it all. So that it’s less chaotic. We think we like order more than chaos. Like anything, it’s not that simple. I’m going to try and work it all out using images. To create some kind of order out of this mess.
Q. How? Why?
A. We’re exposed to over 30,000 images every day. We understand them. How to read them, what they mean. We’re still susceptible to their manipulation, which is another theme I hope to explore. I believe images are the primary form of escape. So it makes sense to use them to communicate my findings.
How will your images illustrate your findings?
I’ll shoot images of people while they’re in the state of escape. This will at first appear meaningless, it’s something we see all the time. Which is part of the point, because we are so immersed in it. The form of the images, my choice of communication method; the fine art print, in an exhibition setting, will suggest that there’s more to it than that. The elements and construction of the images will provide clues for the viewer to read. Ideally, after a bit of consideration, the viewer should be able to understand the meaning and metaphors I have placed within the photographs.
how i got here
The following images were part of the basis for this idea. It probably started around the time that a friend of mine, who was in her final year of performance studies, was creating an installation based on video works that we worked on together, including an animation from an earlier post. Although the themes are quite different, I can see the link, or perhaps development of this idea from then until now. I was particularly interested in the viewer, identity, and screen-based media.
Next up was when my sister and I were watching the sunset. Only we weren't really watching it, just shooting it until it lost its attractiveness.
The next time was when I was checking out the ruins of Angkor. One of the sites had just wrapped up filming a Thai film. A young local was obviously influenced. It stood out only because the clichéd realisation that we all know but begin to really get when we travel... that life, when simple, and with limited resources, often appears much more relaxed and content. So it can be kind of confusing when you see the locals desiring the alternative western consumer driven culture.
And then, tourism/the veiwer/photography/location (where are you?). At the summit of a small mountain overlooking Angkor Wat for sunset, the amount of people, the chaotic search for the best view, and the amount of cameras, really just blew me away. That was for me, much more captivating than the sunset.
I'm just as bad. Especially as a tourist. At least most people only get their cameras out at the same time as everyone else. Inconspicuousness, not always my thing. I got a bit over excited when I found a Borders in Kuala Lumpur. And, even better, the Borders had an Apple store in it. The sales guy was taking our photo in PhotoBooth, of which I was taking photo's, of myself, with a fake Parisian background. So perhaps even when we're escaping, we're still escaping. To simplify.
Next up was when my sister and I were watching the sunset. Only we weren't really watching it, just shooting it until it lost its attractiveness.
The next time was when I was checking out the ruins of Angkor. One of the sites had just wrapped up filming a Thai film. A young local was obviously influenced. It stood out only because the clichéd realisation that we all know but begin to really get when we travel... that life, when simple, and with limited resources, often appears much more relaxed and content. So it can be kind of confusing when you see the locals desiring the alternative western consumer driven culture.
And then, tourism/the veiwer/photography/location (where are you?). At the summit of a small mountain overlooking Angkor Wat for sunset, the amount of people, the chaotic search for the best view, and the amount of cameras, really just blew me away. That was for me, much more captivating than the sunset.
I'm just as bad. Especially as a tourist. At least most people only get their cameras out at the same time as everyone else. Inconspicuousness, not always my thing. I got a bit over excited when I found a Borders in Kuala Lumpur. And, even better, the Borders had an Apple store in it. The sales guy was taking our photo in PhotoBooth, of which I was taking photo's, of myself, with a fake Parisian background. So perhaps even when we're escaping, we're still escaping. To simplify.
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