james k lowe

onofield.com

2009-10-06T19:38:00.000-07:00

sorry, moved!

www.onofield.com

New Packaging

2009-10-05T23:24:00.000-07:00

New Packaging Design by Janice Kirkpatrick looks like a pretty sweet book.

if i were into that, maybe i would make some stuff.. funny that. I kinda am, so maybe i will.

WHY?

2009-10-05T23:19:00.000-07:00

Why? (Anticon) are coming to New Zealand, 17 DEC at Toto Montecristo Room and 18 DEC at SFBathhouse for those not in Auckland. I am going, you should too.

We Anticipate Forever

2009-10-05T18:47:00.000-07:00

Feel like a read? it's becoming a book.

We Anticipate Forever

There is only waiting. All time is passing
We were here/together.
We laid.
We slept.
We dreamt.
We woke.

We should know some might think that all existence is to be dealt with, without meaning and direction. Despite the opinions of some, there are many who believe in an existence with an ending. In search of such meaning and direction is set within human capacity but the answers go without universal acceptance, and some go without answers entirely. Perhaps we could consider each to their own as we look for definition and direction, as experience of humanity, experience of peers and experience of living is dramatically different. The search and questions are often the same but the line of direction changes as some cast away their problems through an existence of ‘god’ whilst others question it and even more just accept an inevitable unknowingness. Discussion and technical communication from the likes of Sartre, Kant and Schopenhauer define existentialism, ontology and epistemology as we search for truth and (forever) justification of this truth. To here we begin in defining two parts of a human search, the unanswered question of why, the ‘Ens Causa Sui’ and the ambivalent attempted answers and discovery of the search.

The approach of philosophy towards art in photographs happens within the nature of character. Charles Baudelaire believed photography lacked in soul, as art was the reproduction of nature (Baudelaire 2), such reproduction. “As the photographic industry was the refuge of every would-be painter, every painter too ill-endowed or too lazy to complete his studies, this universal infatuation bore not only the mark of a blindness, an imbecility, but had also the air of a vengeance. “ (Baudelaire 2). If the soul is not within the photographer then it could stand within the character. The model becomes less of a model, and more of a person within a narrative, defining a persona that exists within each and every one of us. Through the slow study of an expression there is a life drawn between the world in which we live and the world where we exist, that is formed through narratives. Narrative from images relating and portraying to the viewer as the experience of human relations, the subtle disperse of emotion and feeling of the inside are blindly open to you, the audience. These characters from the images simulate the ideas that we all think and feel at times, to live and die on this earth. They are here with reference to the philosophers of existence to question god, question humanity and journey into the search of direction, meaning and hope- hope of something much more in a life in which we live.

To here from wherever we stand there must be realization. Realization of both a higher power and continual awareness amongst peers. Awareness between You and I. We walk together, if I speed, you slow. The balance between one and another is the simple shift of weight between your left foot and right foot as you walk. It’s the continuous momentum and freedom that keeps you moving. The freedom is only disbanded when we lose placement between each other. Upon awakening is a new perception but a perception you can never look back from.

There is something extraordinary about us Humans that clearly distinguish ourselves from other life forms in the world. It is not a hierarchy or ill-informed pro-human development movement, but rather what Descartes renounces as a single principle. “I Think, Therefore I am” (Descartes. Part 1, article 7). Thought exists. This is not to say that it does not exist in other mammals but as our domination on this planet has shown us, we are the most advanced in certain aspects. It is a phenomenological thought that classifies us in our ability to think beyond our own existence. Our mental composition is only what could be described as the formation of higher power. Phenomenology, our structure of experience and consciousness, is restricted to humans, which resides beyond our sensory field and into a transcendental experience.

Sometimes I feel like I’m here only because you’re here. You seem to know what you’re doing. Everybody else does. Dispersed, backs to the wall, backs to each other, it’s claustrophobic, it’s loud, and the only conversations happening, happen between two people dipping in and out of my aural nerve.

Out and about at night, a controlled set of morals and fluent in what is deemed cool, acting the part seems to be far from what we could call real. Situations become more like plays, we huddle and form to our corners, we watch each other as morals droop through the liquid death and soon the ones that are acting out could be considered the real as we, the ones on the sidelines, are still standing trying to wonder if we’re doing it right

As the state of the individual is defined and swayed by our surroundings, through the phenomena around us- both physical and transcendental, we can sometimes find ourselves too overtly aware of each other, thus we come to Schopenhauer’s ‘Moral Consciousness’ (Schopenhauer 57-67). Perception is awoken and it is this Moral that we align ourselves with Humanity. To be both the tormentor and tormented, we allow ourselves to feel for the opposite party, we open to the sublime, “tranquillity tinged with terror” as described by Edmunde Burke. (Schopenhauer 61). To sympathize and identify with the ‘Other’ is a quality ascertained by the post-modern society we are currently in. What connects ourselves to this real is the undeniable human action of emotion. Sartre portrays true emotion as an uncontrollable act, a reaction of causality, and true to that of what is real.

Baudrillards view of the real, and further the hyper real, is best portrayed in this paragraph from Astral America:

“Sex, beach and mountains. Sex and beach, beach and mountains. Mountains and sex. A few concepts. Sex and concepts. ‘Just a life’.
Everything is destined to reappear as a simulation. Landscapes as photography, women as the sexual scenario, thoughts as writing, terrorism as fashion and the media, events as television. Things seem only to exist by virtue of this strange destiny. You wonder whether the world itself isn’t just here to serve as advertising copy in some other world. When the only physical beauty is created by plastic surgery, the only urban beauty by landscape surgery, the only opinion by opinion poll surgery...and now, with genetic engineering, along comes plastic surgery for the whole human species.”
(Baudrillard 32)

Looking towards the post-minded human world, Baudrillard’s view of the hyper real in ‘Astral America’ is very similar to the ideas from Zizek’s ‘Welcome to the Desert of the Real’. A fantasy reality deemed real. In ‘Welcome to the Desert of the Real’ he suggests that real emotion- that which is an unconscious act of the body, is something only revealed at its most traumatic peak. He examples the 9/11 Attacks of the World Trade Centre, whilst the initial present act is the unimaginable, the abject, the post-act of the terrorism becomes “much more symbolic than real.” (Zizek 5). That is to say, hyperized by the media, what we see becomes a processed thought- that of reality and no longer a true emotion. Through emotion, Sartre describes this uncontrollable ‘thing’ to be Duality, the split between real and reality, the physical and non-physical. The gap between body and mind is formed as we lose control between one and another.

Our body and mind is split between being both perceived and perceiving. In a world of objects, objects that can only be perceived, we are just apart of this, no different from one another. Schopenhauer says we are both subject (perceiver) and object (perceived), both will and representation. Regarding that, without object there is no subject. In the unity of duality we see ourselves as will/the perceiver/our internal movements, but our body moved by will is also being perceived as an external object. He states, “the body is nothing but the act of Will objectified, that is, translated into perception” (Schopenhauer 33). Within the self there is this transition, but also in the perception of Other- life forms and beings around us with the capability of perceiving and being perceived.

In the perception of others, Sartre articulates ontology into irreducible categories: being in-itself, being for-itself, the Other-self and presence-to-self. (Sartre 15-27) Where we currently sit in the internal is the presence-to-self, where Schopenhauer’s ‘Will’ could be considered and also where we see our transcendental self. The being in-itself and for-itself is noted as our non-conscious and consciousness, our past experience and our projected-future experience which in parallel is the difference between the in-itself and for-itself. We would normally assume to sit in our consciousness, but because (as stated earlier) emotions can be an uncontrollable affect, this is beyond our consciousness as we have little control over our body at times. The last is the external, the Other-self, what we see as our projected self onto others. It is the external to our self, an affect of another onto our self and vice versa, what Husserl calls an eidectic reduction.

Out of touch, out of just, out of love.
We form, we relate and we live with one another.
It isn’t something we normally think twice about. But today we’re here together. What we see in each other is what we see in ourselves. I can’t help but think with thoughts outside my own body.
So much to say, so little form into words and even less come out of my mouth.
It is the loss of relation between two people.
Embraced in arms, a one sided love before the news becomes mutual.

All of the self’s rest within a place outside of time and space. They exist through a connection in the body, but without body there is no way in which they can be perceived (by humans), and some respect, exist. From the long-winded words of quasi relations, it is easier to understand to apply it to a situation.

What we can analyze from one perspective is the presence-to-self and the being and for-itself. The actions defined in touch as one comforts and one pulls always. Conscious of where your hands rest as you embrace, how your head rests on shoulders or maybe it does not, the thoughts internal do not reflect through the external. The other-self is telling the tale of the moral consciousness, to feel and to be felt, the tormentor and the tormented. What it is to love and to lose, it is the reaction of both that pulls us at the unease of the situation.

If we take for example, an apple sitting on a table, from the diagram (below) we can come to several conclusions. At the External/Other, we know from a sensory perspective that the ‘object’ (apple) is patchy red, pale yellow in places, smooth, near round, has a small point sticking out of it. These points taken to our being in-itself, our past experience, suggest that the small point is in fact a stalk, the object- round, smooth and red is an apple. As it is, the physicality of the apple is not all that exists. In suggestion from our other-self in correspondence with our being in-itself, we know that a crunchy apple (by opinion) is better than a mushy apple. We know this from either experience or being told from a believable or reliable source. Before this happens the apple simply exists, it is an object outside of time and space to us. It has not been perceived therefore we cannot tell where this apple currently is, by extension whether it actually exists assuming life is just a perception. Relation to Schopenhauer’s conclusion of objects to not exist without subjects, we cannot to ever prove this, but a theory nonetheless.

As the diagram suggests, the internal workings of the self are outside of time and space, where our body and actions are within. It is thought that the connection point between these two parts exist at the point between the two hemispheres of the brain: our Pineal Gland. ‘Seat of the soul’ as it is referred to, it only suggests a connection with something greater. As Schopenhauer states, we all have the same energy flowing between us, looking inward to our self implies looking towards the universe. (Schopenhauer 28)

In ‘The World as Will’ Schopenhauer talks of “perennial philosophical reflection” (Schopenhauer 28) a basic energy, an energy that flows through objects and people. Theoretically we are all made of this energy, we are all compatible with one another. To conclude that coming into contact with this energy that flows inside us- that is, to find ones self, would mean finding the universe. This greater connection between bodies and minds is looking towards a theory of God and unity of humanity. Amongst this unity we have our ‘moral consciousness’ (Kant 10-22). Parallel to the freedom of being that exists within man is a coextensive responsibility (Sartre 16). It is, simply put as our responsibility to the ‘world’ – everything that exists around us that we influence/affect. Described as a “horizon of meaning” (Sartre 16), an indefinable law or rule that we abide to, not for reasons of the psychology of what is right and wrong, but rather an instinct in its most basic form. The raw instinct that Schopenhauer calls Will and what relates to Kant’s ‘Good Will’. This responsibility crosses over between psychological and ontological, an interaction between body (in a social sense) and mind.

As humans we constantly search for some sort of meaning, of both direction and answers. Kant’s ‘Good Will’ and ‘Moral Law’ is based from looking at humans a priori, that is to look at humans without actions and rather inner principles, as looking a posteriori will be unsuccessful as general expectations of humans are never met and human behaviour can look like a declination from the expected as we move to an aesthetic world rather than one based on logic. It “is not the actions one sees, but their inner principles, which one does not see” (Kant 9). Good will and moral law are the basis for direction metaphysically, actions by humans that do not result in the praise of others, nor do they do it for themselves, they are pure in action. This will is unaffected and perhaps even in explainable by words, although it should be known the existence of such is a duty we fulfil and react to, not always, but at times that show an interconnectivity between peers and surroundings.

In a world of will as defined by Schopenhauer, he suggests, the world is a frightening place. What we do, we do on impulse. We strive for existence with no real promise of an ending worth living or dying for. Will is the very basic principle of existence, there is no knowledge or laws binding our ‘will’ to what we have, only good will which is a transcendental thought and could be ignored on a more primitive level of humanity. We are free within this world, and free within this will. In this anthropomorphic world, everything is meaningless. No direction. No Hope. Certainly no God, without evidence other than a higher thought. It is an eternal frustration, as we move to nothing within our reach and essentially we move nowhere. (Schopenhauer 37)

In a portrayal of this concept, it is a mere mood that lights the narrative of an artwork. Despite the negative out view of Schopenhauer’s ‘World of Will’, there is also a hope reflected from the work of other philosophers. It’s an aesthetic experience that separates itself from other experiences. Pure in separation of subject from object, which what we see through our eyes is not logical in any way but instead is aesthetic. Seeing objects not for their uses, but for their build. If we were to look at a chair, we would think of it not as an object for sitting but rather admire its form and shape. Art, is highly regarded in an aesthetic experience, it is the attempt to create divine intervention- to truly touch on emotion, as Zizek will explain this can happen through the unexplainable terror of the unimaginable. In what is a personal event, so simple from the outside- we are humans, perceiving one another aesthetically with little effort, but there remains much more deeper into the surface than we first see.

Henson’s life work revolves around the “social and psychological aspects of the human condition”, he “find[s] their distinctive expression through his manipulation of the unique properties of the photographic medium.” (Crombie 1)

Bill Henson, Untitled

Body, form, shape are all aesthetic qualities lit with a dark truth. Models in their prepubescent years portray a simple look. No part of it is intended to be suggestive in any way but behind the gaze of quiet eyes is a lot more to be considered than just a bare body, both revealing an impassive truth but nothing at all. A body is no longer photographed as a body but more of a soul. In his catalogue ‘Bill Henson’ they begin to explain his work as a creative puzzle. “It dwells on the value of what is difficult and mysterious in the drama of each individuals existence”. (Crombie 3) He provides a new look on what is considered the familiar, new worlds, new outlooks on suburbia. What is not just a formation of homes is a new age of ocular pleasure. Hidden within the black is how we, as emotional humans, live each day. It is a society with a great complex to how we’re perceived, and to how we shield ourselves from the true vulnerability we hide.

As pessimistic as Schopenhauer may be, there is no reason to denounce any of his words, as it a split opinion on the matter. His world of will is far from Kant’s ‘Critique of Pure Reason’, where God- although impossible to prove, does exist. Possibly not in the image that has been hyper realized by everyday and tales through Christianity, but rather the formation of god and it’s association with morality and happiness. He explains that one cannot be separated from the other, Voltaire goes as far to say that it would be necessary to invent god if he did not exist in an epistle to ‘The Three Imposters’ author.

“If the heavens, stripped of his noble imprint,
Could ever cease to attest to his being,
If God did not exist, it would be necessary to invent him.
Let the wise man announce him and kings fear him.
Kings, if you oppress me, if your eminencies disdain
The tears of the innocent that you cause to flow,
My avenger is in the heavens: learn to tremble.
Such, at least, is the fruit of a useful creed.”

(If God Did Not Exist It, Would Be Necessary To Invent Him 3)

It is a world not necessarily true but it is this world where an idea is bound to emotion, it is an informal unwritten law to how we live. In optimism, a perceived ending and continuous movement in the same direction. Jean Paul Sartre has the same recreation of this idea but through a similar aspect in that he calls it the ‘Ens Causa Sui’, what in religion we could translate to God but from French it could also translate to the ‘completion of man’. (Sartre 21) In completion, although different for all, there must be unity between the duality of body and mind. The comprehension of surroundings must be beyond aware, to a belief that objects and subjects align. This is a world with both distinction and definition, both logic and beauty, as they can coexist within the same. Essentially we are describing heaven, the forever happiness and morality of ourselves.

Relations between humans is difficult to perceive when each is to their own, each is to hide their own, and each is to portray something different from the truth… blind truth. Emotions, feelings and our ability to comprehend each other and separate ourselves from vulnerability in public, separate vulnerability from ourselves, all define an outside hyper real life. Just as we hide, we also reveal in what seems to be the worst of times, as described in ‘Welcome to the Desert of the Real’. In a struggle with life we see our other-self in others, our for-itself as a mirage, and our presence-to-self as a detachment. We become a world of objects benefiting the subject. Perception is never true to happiness. What lies behind eyes is a world Schopenhauer describes as meaningless, an eternal struggle with our selves and with each other. As we do with our aesthetic life, we look to objects to fulfil and sustain the struggle, but as the energy flows through our body it seems we will only find it within ourselves. We look to you, to god, to a life with direction and meaning. A journey from the single perspective is what we can hope to realize before it’s too late in the search for the Ens Causa Sui.

There is no waiting. No time is passing
I am here/alone
I lie.
I sleep.
I dream.

Bibliography

"Arthur Schopenhauer." Stanford Encyclopedia of Philosophy. May 12, 2003. Metaphysics Research Lab, CSLI, Stanford University. 18 August 2009 .

Baudelaire, Charles. "Charles Baudelaire, On Photography, from The Salon of 1859." Sacramento State. California State University, Sacramento. 28 September 2009 < http://www.csus.edu/indiv/o/obriene/art109/readings/11%20baudelaire%20photography.htm>.

Baudrillard, Jean. America. New York: Verso, 1988.

Descartes, René. Principles of Philosophy. Lampeter: Mellen, 1998.

Bill Henson. Untitled. Auckland City Art Gallery, Auckland.

Crombie, Isobel. "Untitled, The Photograph of Bill Henson." Bill Henson. Australia: Australian Exhibition Touring Agency LTD, 1995. Page 9.

“If God Did Not Exist It, Would Be Necessary To Invent Him” Everything 2. 5 October 2000 The Everything Development Company. 30 September 2009 .

"Jean-Paul Sartre." Stanford Encyclopedia of Philosophy. Apr 22, 2004. Metaphysics Research Lab, CSLI, Stanford University. 14 May 2009 .

"Kant's Moral Philosophy." Stanford Encyclopedia of Philosophy. Feb 23, 2004. Metaphysics Research Lab, CSLI, Stanford University. 29 August 2009 .

"Phenomenology." Stanford Encyclopedia of Philosophy. Nov 16, 2003. Metaphysics Research Lab, CSLI, Stanford University. 29 August 2009 .

Sartre, Jean Paul. Being and nothingness; an essay on phenomenological ontology. New York: Philosophical Library,1956.

Zizek, Slavoj. "Welcome to the Desert of the Real". Re:constructions. 2001. MIT Comparative Media Studies. 9 September 2009

Postponed Postponed Postponed Cancelled.

2009-10-05T01:38:00.000-07:00

We Bleed Blue, In Cults With You.

The big flaming fire ball of a shoot I had planned was postponed over this weekend to next weekend..but I have a feeling it will be pissing with rain once again. A feeling by the fact that it is FUCKING FREEZING today. and metservice says it will be thundery all week...

Until then, Shoot is still happening on Sunday, 11th of October
..but I will probably post another for it to be the following week.. Any later and it gets cancelled. It's too close to hand in date to be shooting.bums

Seen and be Seen #005

2009-10-05T01:36:00.000-07:00

Courtesy of Yimmys Yayo

i'd rather be shot to death than stabbed. but i'd rather be stabbed by you. bitch

sunday

2009-10-03T19:31:00.000-07:00

it seems to be one of those times when things are a little slow. Shoot has been pushed back a week due to weather, and I wouldn't be surprised if I had to push it back once more.. It seems spring welcomes storms. jerks. But i've got another idea in mind that i'd like to do- so i'll be pushing out babies in no time.

until then, this blog will stick with music and movies..

last night I watched teeth for the second time. It's still great. what with the subtle, and not so subtle hints of ..teeth. check the trailer.

split your tounge down the semi kind

2009-10-03T01:39:00.001-07:00

Half Nelson/Broken Social Scene/Shampoo Suicide

I dont know if anyone really knows the lyrics, but whatever.

All the lights we were
All the lights we were
All the lights we were
Do you remember?

How they need some fruit and sweet heart
To come a time, some time we spent
(I cried for we when all was to come free
At the broken heart in the room)
Split your tongue down the semi kind
And show us lovers that don't love to live
Lick the kill that never did
Eat the trees and then get off on time
Get us something with the finger kids
(I want it)

Put your teeth where you love to love
Drink some spit just to save your life
Bury parents in a moment's time
Hate it all and you still use shampoo
You hate it all and you still use shampoo
Find some bullets in a backyard
Shoot them up with your favourite kid
Free them up like its another knife
Save them for when you thought you did
Seen the tricks all use shampoo
You hate it all

My daddy told me to get a life
Like the something of simple time
It tastes so good
I've seen your dreams and I wish you would
I've seen your choice and it don't taste so good
Sucks the jaws and they won't taste so good
I've seen your drugs and the don't look so good
Suck the jaws like I wish you would

Bon Iver

2009-09-30T20:38:00.000-07:00

Courtesy of Mark

Seen And Be Seen #004

2009-09-30T20:36:00.001-07:00

My sister sent me this. Bro. WTF.
Liu Bolin/Genius

Go Large

2009-09-29T17:19:00.001-07:00

to be honest, sometimes i blog just because I feel like making the page look pretty/pretty with pictures. But a slight change, larger blog space- meaning bigger pictures. and youtube embeds actually fit..

In light of my coming website this section will be called 'Go. Large' - which may move soon when the domain is up and running. All and all, things are coming

Seen and Be Seen #003

2009-09-29T17:06:00.000-07:00

This is from Yimmys '999' .zip of images he put together a couple weeks back. I have no idea who did it, but it is amazing.

rain.

2009-09-29T16:55:00.000-07:00

Gregory Crewdson

So it looks like rain this sunday. Shoot has been pushed back to the following week. Which would place it on SUNDAY, 11TH OCTOBER. be there? be there.

MODELS/SHOOT/CALL

2009-09-28T18:26:00.000-07:00

WE BLEED BLUE/IN CULTS WITH YOU

New shoot...

Date: Sunday, October 4, 2009 (if rain, postponed til following sunday)
Time: 6:00pm - 8:00pm
Location: My Place
Street: Mt Eden (Email me for address)

Dress:
As pictured above.. It's a thug. cult. gang. Black (and some other colours- but keep it dull), lots of textures, keep it shiny, necklaces, rings, etc. Beanies, hoods and a bad ass stare. I'm going to have several people holding fire staffs, and as a possible second shoot holding Molotov cocktails.

Two shots:
- Image of a young man looking battered, slowly walking after running through the forest with a fire staff. Looking around, there are lots of people dressed in black in amongst the trees.
- Shot of rows of people holding fire staffs. looking angry, ..or stern. more than angry. hoods up, very moody. very dark. shot over two cameras (i think)

please email: jamesklowe@gmail.com

Seen and Be Seen #002

2009-09-28T17:16:00.001-07:00

Courtesy of Yimmy's Yayo

Michael Schnabel

f bdo.

2009-09-28T17:07:00.000-07:00

this years first announcement:

Peaches, The Horrors, Girl Talk, Kasabian, Dizzee Rascal, Calvin Harris, The Temper Trap, The Decemberists, Muse, The Mars Volta, Lily Allen, Kora, Groove Armada, PNC, Ladyhawk, Dimmer, Rise Against, Mastodon, Karnivool, Gin Whitmore, Eskimo Joe, Minuit, James Duncan, and The Checks

Bigdayout better get their shit together. Give us something new, not. impressed.

lol on pulp

2009-09-28T02:58:00.000-07:00

so i'm in pulp. i had an interview that was reduced to one quote..

"I think there needs to be a balance between doing what you want to do, and what you have to do. Marks aren't as important as they're made out to be - so as long as you're developing your own practice I think you're doing okay"

500 days of the epitome of breakups.

2009-09-28T02:50:00.000-07:00

f my life. is exactly what this movie is about.
and i completely love it. like the little tweeny twilight school girl. this movie was great. Not going to give anything away, not that there is much to give away. but definitely go see it. maybe have a cry/laugh or something.

ps. who doesn't love zooey deschanel. (ben gib is a total jerk)

MODELSMODELSMODELS

2009-09-27T23:29:00.000-07:00

New shoot, Want to be in it?
October 4th.

jamesklowe@gmail.com email me.

Details will come later.

Seen and Be Seen #001

2009-09-27T23:26:00.000-07:00

Picture posts once every couple days of things i like.

(i suggest you click this one. AMAZING)

Salem

2009-09-27T23:24:00.001-07:00

courtesy of Dylan.

Monsters of Folk

2009-09-23T22:30:00.000-07:00

Dropped their new album 'Homework' - alot of its on youtube. Tbph it's not the best thing to come, but I did have high expectations. VERY high expectations. But how could you not when you've got M. Ward, Conor Oberst and Yim Yames (as he seems to be going by these days). Check it for yourself, 'Temazcal' is the song embedded below

First Fix/Third Bike

2009-09-22T22:07:00.001-07:00

This is the third bike i've owned. My first was a little bmx from the warehouse, second was a Bmx Vegas/that I still have. And nowwww I have a fixie/GT Gutterball

It is pretty. Non art related, but i'm real excited- courtesy of T Whites

this years mt eden young artist

2009-09-20T21:35:00.000-07:00

Where Are Here, Nowhere Near You. 2009. Models: Joe Locke, Niamh Peren. Assistant: Ruby Read

So it was Mt Eden Young Artist awards again this year at Satellite Gallery. I entered in the pieces above as a diptych- Matte Inkjet on Fuji Crystal then dibonded on 4mm with 12.5mm hangers. Each image was roughly 500mm x 375mm.

Long story short, I took away two prizes. Older Artist (19-25) Winner and Overall Winner.
A hefty amount of prize $$. time to go shopping

Critical Studies 10 - In A Life Post-Us

2009-09-20T21:33:00.001-07:00

In a life post-us

Does history matter? In a search through excavation of the archeological site Thomas Hirschhorn quoted "Does the passing of time only determine the significance?" (394) In the Hans Ulrich Obrist Interviews (2003). At which point did the trash of yesterday become today's artifacts of the past? Unanswered and ill explained, Hirschhorn describes the engagement of the people behind the working system of the world- from the highest power of the food chain to the lowest working at a fast food chain.

When all of the above comes to mind, what is happening with today's artwork tomorrow? In a world post-present, that is to say that we're living in a world where the technological rate doubles itself every 1.5 years- and advertising and media branding is flowing in and out of the brain and in and out of 'popularity' in mere weeks at a time, keeping up with the change seems impossible. As for art, the same is happening as one's 15 minutes of fame is in and out like the something. Hirschhorn rejected the idea that a catalogue is to legitimize an artwork and rather that it should 'inform, create knowledge and discuss connections and contexts' - where I believe true, such forms of discussion should exist in order to stimulate minds, they also act as a document of preservation (if lucky enough to succeed in an ISBN number). But such achievements surely would go unnoticed in the future, right?

Schopenhauer described living as an 'eternal frustration' (Schopenhauer 'The World As Will' 10), to live in a world without god, without meaning and direction, the proof seems to be in our lives- the fast past change in life seems that everything we do becomes a 'filler'. Easily arguable, existence has a cap, and what we do is crammed into a period of time. A world of subjects and objects as described in Schopenhauer’s world of will, each to be perceived and perceiving- inevitably living? It’s troubling to end on this note, but what are we to do with time in a troubled world of no direction.

Thomas Hirschhorn interview with Hans Ulrich Orbist, Thomas Boutiux ed., Hans Ulrich Orbist: Interview volume 1, Milan: Charta, 2003, pp.393-400.

"Arthur Schopenhauer." Stanford Encyclopedia of Philosophy. May 12, 2003. Metaphysics Research Lab, CSLI, Stanford University. 18 September 2009 <
http://plato.stanford.edu/entries/schopenhauer/>.

Critical Studies 9 - The son of mum and dad

2009-09-20T21:32:00.001-07:00

mum, how is art born?

We are merely slaves to the art, artists as creators- mothers if you will to a child born into a world of waiting arms, outstretched willing (and unwilling in some cases) to nurture this child and judge him or her on a basis of looks. The aesthetic child, slave to the man, slave to the world we have created for ourselves in an effort to sell products, sell celebrities, to sell an image. You, you are a slave to this, you are a slave to this child, whether you like it or not, an abortion was not passed and you are here to view this child. As said in Bourriaud's 'Relational Aesthetics' a quote from Jean-Luc Godard 'It takes two to make an image' (Bourriaud 26). Subject and Object, Schopenhauer describes us in his World of Will, to perceive and be perceived- we are the perceivers each taking in objects around us, blurred lines as we (our bodies) become objects. Objects that (in our minds) should fit to the realization of an aesthetic world, as should art generally be perceived.

Each to their own do we come across 'art', it's expectations have changed, the move from sub culture and genres of art have clashed, defining one's practice is no longer 'one's' practice but rather a combined effort of "individuals and groups, between the artist and the world.. Between the beholder and the world" (Bourriaud 26). In such a world where one is no longer ones own, where an object does not exist without a subject (that is, if there is an object to be perceived but no subject to perceive it- how does it exist). Unnoticed. May we have lagged behind in the booming age of technology, we are now amongst it as the ability to communicate across seas, countries and even to beyond earth, there is a universal awareness we must take in to account. Awareness of art in its current state, which is constantly moving and adapting as technology changes itself. As for the change in state, slaves to the art, we may simply not need to be a creator for it, but merely just spectators as looking towards art may possibly just be enough.

..If that is not enough, then this program 'E-Icon' (http://www.numeral.com/eicon.html) brings some valid points to mind- if there was a super computer that created images based on combinations of pixels all moving through 256 colours and the infinite number of combinations then there could be images of you, me and everyone and everything in this world. If everything has been seen, and everything that has not is there anything left to do?

Nicolas Bourriaud, "Art of the 1990s", from Relational Aesthetics, Paris: les presses de reel, 2002, pp.25-40.

Mirapaul, Matthew. "In John Simon's Art, Everything Is Possible" 1997. The New York Times Company, 18 Sep 2009

Critical Studies 8 - More Than Real

2009-09-20T21:31:00.002-07:00

More Than Real

What is it about images that we have become so desensitized to? Shredded bodies, corpses hung, flesh from bone is what Campbell talks of in his portrayal of devastating life from the captured media. When movies so easily reproduce such horrific events and unimaginable stories following the slaughtering of us, us humans, we see such things as a removed version of our self. Where we could still squeal at such thought of cutting off our own foot in blockbusters like SAW, it is the repeated imagery, the repeated number of movies revolving around the same intense pictures of the unimaginable not to mention the seven series of SAW that will appear in theatres next year.

Campbell's 'disappearing bodies' talks of the removal of figures from bodies from images, leaving a mark only symbolizing the horrific events that have happened, but in few cases the violent images showing the true events do surface- but as an act as to what should not be happening as opposed to the pro-event. - The Byrd case. In such cases, it seems horrific events are only to be portrayed in light of good. Instead of images we are given words, describing the situation in gruel detail rather than an off-putting image whilst we eat our breakfast. Words can become more hurtful by association than pictures can- and by extension, mind over pictures.

Sitting, circling, the world is within my own
I sit here thinking of you, grueling pain as you revolve around my head
The more I think of you, a monster you become.

As we can get 'trapped in our own thoughts', it is the idea of the actual event that becomes much more than the event itself. Slavoj Zizek's 'Welcome to the Desert of the Real' the examples 9/11 attacks on the world trade centre, the event is in imaginable, something of such grand scale in filled with terror to a scale incomprehensible to the brain itself- seeing the events on screen becomes much more than the event itself. The repetition and circling thoughts

David Campbell, "Horrific Blindness: Images of Death in Contemporary Media", Journal for Cultural Research, Vol.8, No.1, Routledge, 2004.

Zizek, Slavoj. "Welcome to the Desert of the Real". Re:constructions. 2001. MIT Comparative Media Studies. 9 September 2009

Critical Studies 7 - Neighbourhod over Nationhood

2009-09-20T21:31:00.001-07:00

NEIGHBOURHOOD OVER NATIONHOOD

As a change in social history over time has only come to prove that "a new order and intensity" has come to order, openly embracing the new media as the world becomes it's own suburbia. Arjun Appadurai disjuncture and difference in the global cultural economy follows this change in world ethics and cultural transitions of the system we live in.

In an account of the "Philippines affinity for American popular music is rich testimony to the global culture of the hyper real", where in a world of print and internet media culture is able to travel from one country to another easily regardless of who the media is centered around. He describes as the Filipino people 'look back to a world they never lost'- media portraying a life of the 'perfect' American yet this life, so contextualized and rich of fantasy is far from real, it is the hyper real that is being fed to foreign countries. A life of a dreamland that is far from existence.

Baudrillard quotes in 'Astral America'

"Sex, beach and mountains. Sex and beach, beach and mountains. Mountains and sex. A few concepts. Sex and concepts. 'Just a life'.
Everything is destined to reappear as a simulation. Landscapes as photography, women as the sexual scenario, thoughts as writing, terrorism as fashion and the media, events as television. Things seem only to exist by virtue of this strange destiny. You wonder whether the world itself isn't just here to serve as advertising copy in some other world.
When the only physical beauty is created by plastic surgery, the only urban beauty by landscape surgery, the only opinion by opinion poll surgery...and now, with genetic engineering, along comes plastic surgery for the whole human species." (Baudrillard 32)

A world of hyper real, where all is 'perfected' to an image that has become an expectation to the outsider. Suburbia is the perfect example, a neighbourhood perfectly paved, large houses and backyards- foreign to most centered in cities, this suburbia has a level of expectations that is rarely met as living such life is often living next to empty houses, failing economies and bare streets as living in once a dream area fades as children leave to work in cities and commuting between suburbia and work is often a long drive.

Arun Appadurai, "Disjuncture and Difference in the Global Cultural Economy", Modernity at Large: Cultural Dimensions of Globalisation, Minneapolis: University of Minnesota Press, 1996, pp.27-47

Baudrillard, Jean. America. New York: Verso, 1988.

we chose C.

2009-09-15T23:00:00.000-07:00

In an extended version of A, we got C.

Untitled 2009. Models: Alex Davidson, Miri Davidson. Assistants: Zac Langdonpole, Rebecca Boswell, Kate Roydhouse

a to be weird.

2009-09-14T20:07:00.000-07:00

untitled 2009. Models: Alex Davidson, Miri Davidson. Assistants: Kate Roydhouse, Zac Langdonpole, Rebecca Boswell

is this weird? i don't know if i like it.

A or B? Or maybe some combination of A and B...

putting off

2009-09-14T03:34:00.000-07:00

i've had alot of work printed lately- they came out very dark. to almost impossible dark. something that Labtec normally do, so i should know better.

went to see the September Issue tonight- was good. Don't think i'd make a very good editor like Anna Wintour, too much attachment to photos I like as opposed to what works.. but i'll try this year. And i'll shoot more..
once i get some new ideas too

(fill in post while i get my act together)

re-edits

2009-09-09T20:53:00.000-07:00

third times the charm right?

Untitled 2009. Models: Alex Davidson, Miri Davidson. Assistants: Zac Langdon-Pole, Rebecca Boswell, Kate Roydhouse

Untitled 2009. Models: Isobel Dryburgh, Dawson Clutterbuck. Assistant: Ruby Read

Untitled 2009. Model: Ruby Read

Probably about time I started naming things.. There's a few in mind. As well as a series working title which i'm thinking of. I'll drop that when things become more finalized over the coming weeks

Test prints next bitches

let me know, when..

2009-09-09T03:43:00.000-07:00

sometimes I don't know what the fuck i'm doing to be honest.

Sometimes I feel like I’m here only because you’re here. You seem to know what you’re doing. Everybody else does. Dispersed, backs to the wall, backs to each other, it’s claustrophobic, it’s loud, and the only conversations happening, happen between two people dipping in and out of my aural nerve.

Out and about at night, a controlled set of morals and fluent in what is deemed cool, acting the part seems to be far from what we could call real. Situations become more like plays, we huddle and form to our corners, we watch each other as morals droop through the liquid death and soon the ones that are acting out could be considered the real as we, the ones on the sidelines, are still standing trying to wonder if we're doing it right..

the bridge, the hoodlums and the bus driver who stopped to see what we were doing

Untitled 2009. Models: Alex Davidson, Miri Davidson. Assistants: Zac Langdon-Pole, Rebecca Boswell, Kate Roydhouse

Untitled 2009. Models: Dawson Clutterbuck, Kate Roydhouse, David Pickett

Untitled 2009. Models: ? (Bus Driver)

Everything is so different from the next. I don't know what to think anymore

leaving the best of you with me

2009-09-08T16:31:00.000-07:00

Out of touch, out of just, out of love.
We form, we relate and we live with one another.

It isn’t something we normally think twice about. But today we’re here together. What we see in each other is what we see in ourselves.

I can’t help but think with thoughts outside my own body. So much to say, so little form into words and even less come out of my mouth.

After this I have one more set of images to come-
This is the reworked of the Hugging shot earlier/but with a different background. Ignore the weird colours and strange things happening. I haven't finished it, just got lazy and thought i'd post it instead of actually do work.

Untitled, 2009. Models: Isobel Dryburgh, Dawson Clutterbuck. Assistant: Ruby Read

I've never shot anything during the day before, so this a first. I hope you like it. I feel a little fond of it. ..probably needs some more editing first though.

Untitled 2009. Models: Ruby Read, Niamh Peren, Joe Locke

Home

2009-09-06T19:14:00.000-07:00

I managed to get out there again the other night, shoot went well. Even photographed a bus driver in his bus as he stopped to see what we were doing. Afterwards I photographed Kate, Dawson and David on netball courts through a wire fence looking badass? hardcore? i'm not sure exactly.

The first batch i'm a little iffy on- it seems everything I try to do just moves further away from the consistency I really want. But I will have those to show over the next couple of days as I scan them in. Oh I also took a pre-Niamh and Joe photograph with Ruby which came out quite nicely considering I have never photographed during the day before. so this is a first

This is the brother+sister shot- (which will need to be photoshopped into a different background)

Untitled 2009, Models: Dasha Fedchuk, Andrew Fedchuk. Assistant: Ruby Read

post-death

2009-09-02T14:00:00.000-07:00

Quick blog, I'll update it later with some photos..

So shoot was a major fail. The generator died before I could even get any of the lights going. Then security came up. I'm heading out there tonight (assuming I can get lights) with packs and batteries. ..Since things are kind've expensive i'll be doing another shoot i've had in mind at the same time.

photos, updates to come.

Ps. I also have a portfolio/website coming...

two notes before i die

2009-09-01T16:24:00.001-07:00

Two new things are happening today.

1. I'm doing a shoot during the day. (With the exception of shooting indoors) I have never done a shoot during the day..will be interesting.

2. I'm shooting on a bridge.. I realize how potentially dangerous this will be and probably pretty stupid when the police show up, but you do what you gotta do. right?

So if I get hit by a bus, or held in jail. sorry?

ps. if i actually get hit by a bus my body will be here

James Pomerantz/A Photo Student

2009-08-30T23:34:00.000-07:00

James Pomerantz, Auga Sagrada

A very exceptional photographer, James Pomerantz is one of the lucky few to be accepted into SVA NY for the Masters course. In light of the lack of information out there for Masters he has started a blog following his 2 years there. www.APHOTOSTUDENT.COM

you should check it out. i will be following it pretty religiously

taken

2009-08-26T21:31:00.000-07:00

here's the shot from negatives. (ignore cropping.. haven't quite worked that one out)

Untitled 2009, Models: Joe Locke, Niamh Peren. Assistant: Ruby Read

(i feel pretty happy with the hidden things going on. but just to put this out there.. did you notice the BLOODY HANDS AND GUN? ..seems alot of people are over looking them)

give me blood

2009-08-23T16:59:00.000-07:00

new shoot, the negatives are still at the lab. but here's a test/digital still. I'll have the real thing in a couple days. til then, another shoot in 2 days, and one more over next weekend. busybusybusy. if only essay would keep up

untitled 2009. Models: Joe Locke, Niamh Peren. Assistant: Ruby Read

art news and essays

2009-08-20T03:50:00.000-07:00

To here from wherever we stand there must be realization. Realization of both a higher power and continual awareness amongst peers. Awareness between You and I. We Walk together, if I speed, you slow. The balance between one and another is the simple shift of weight between your left foot and right foot as you walk. It's the continuous momentum and freedom that keeps you moving. The freedom is disbanded when we lose placement between each other. Upon awakening is a new perception but a perception you can never look back from.

It seems everything goes on hold when I try write essays. I'm only 1500 words in, 2000 to go.

ps. I'm in this coming issue of Artnews Magazine in an article titled 'Suburbia and Other Things we have Known' (which I will blog later when I scan something in)

We Anticipate Forever/Essays

2009-08-15T22:18:00.000-07:00

I really wish I started mine earlier.. The more I write, the more I feel I would like to know. So my reading list is growing, but i've narrowed it to the basics. they're all subcategories of other things. and will probably be removed from the end product.but i feel like each informs another

bottom line is, i dont do very well with essays. i dont think i've ever written more than 1500 words before either.worry.

Sartre
- Quasi Relations of the In-Itself
- Co-Extensive Responsibility
- Ontology

Arthur Schopenhauer
- The World As Will
- Principle of Sufficent Reason (?)

Descarte (Cartesian Philosophy)
- Dualism / Mind-Body Dichotomy (Plato/Aristotle)
- Princple of Self Consciousness

Edouard Recejac
- Mysticism (?)

Evelyn Underhill
- A Study In Nature And Development of Spiritual Consciousness

Julia Kristeva
- Power Of Horror
- Abjection

Immanuel Kant
- A Prior/A Posteriori
- Critique of Pure Reason
- Subject/Object

Jaques Lacan
- Real, Reality
- Anxiety

Slavoj Zizek
- Desert of the Real

Husserl
- Phenomenology
- Time Consciousness

Revisiting Still

2009-08-14T04:13:00.001-07:00

(left) the 'ee' - james/me, (right) untitled explosion - Geoffrey H. Short

I never really posted about this when it was on, i'm pretty slack. so I figure why not now. now that it's 2 months later and the show is long finished..

Here's John Hurrells review (even though he spells my name wrong.) and then John B. Turner put something up on Photoforum

Untitled x 2

2009-08-12T02:44:00.000-07:00

Having trouble titling these works. I'm not so sure how I feel about them after looking at them together. Especially alongside the 'Ben Hur' picture aswell.. Anyhow. Ignoring the photos together, how do you feel about this one?

Model: Ruby Read| CLOSEUP

I've put up a closeup of the forehead. It's an important part to the image, I just don't know if it's subtle enough..or maybe too subtle.

New Work + We Anticipate Forever

2009-08-12T00:08:00.000-07:00

Here is the first of the new spill of photos i'm currently working on. I imagine fairly large prints, somewhat close to 1000mm x 1400mm. I feel like I should credit the photos I work on- as they're never just me shooting them.

Models: Isobel Dryburgh, Dawson Clutterbuck. Assistant: Ruby Read

(post-post edit: after second thought, i think this is too cold)
(double post-post edit: changed the image. hopefully a little more warmer/magenta so it's closer to rubys picture. Old picture HERE)

Slightly irrelevant post considering I have nothing but words to back this up.. but we have our Critical essays due in about a month- If I can get it done in time i think i'd like to do a book. I've been thinking about what it'd look like, and how it'd be bound. All the small things that make up an artist book.. hopefully it'll come together in the end. oh, it will be titled 'we anticipate forever'

Soon to be replaced

2009-08-07T18:16:00.001-07:00

it seems photographers won't be needed for much longer...

"Sony today introduced the Party-shot™ personal photographer (model IPT-DS1)—an innovative camera dock that pans 360 degrees and tilts 24 degrees, automatically detects faces, adjusts composition and takes photos for you"

'in search of the ens causa sui'

2009-08-06T19:20:00.000-07:00

two new shoots over the past two days. which i'll have next week as the transparencies are being developed. slowly.

but for now, it has been three months since shoot and three six months since i first started planning. and today i think i'm finished.. only print adjustments to come..

i've uploaded a larger version. so i suggest you click on the photo.

Post-post Edit: I might add the credits again another time, but for now here is the list just so you know..

Models (order Left to Right in each row): Alexei Foster, Grant Foster, Reuben Hannaford, Terina Skudder, Matt Monk, Joe Locke, Diana Lowe, Loretta Fong, Alice Wong, Sarah Hughes, Michael Lee, Karl Woodhams, Anna Starr, Shahriar AZ, Mina Melsom, Sophia Ong, Brekk Bockrath, Claire Rorke, Emma Mearns, Anna Willson, Tautahi Subritzky, Calum Henderson, Yi-Zhen Lai Tremewan, Maylene Lai, Steve Cooper, Mei Cooper, Alexander Hoyles, Elena Wenn, Melanie Bell, Xerxes Mandviwalla, Mark Finch, Katherine Lowe, Kate Roydhouse, Steph Willson, Isobel Dryburgh, Charlotte Stevens, Stian Overdahl, Thomas Cheung, Zhoe Granger, James Lowe, Ruby Read, Rebecca Boswell, Zac Landon-Pole, Alex Davidson, Reuben Stevens, Leilani Heather, Dawson Clutterbuck, Shannon Te Ao, Aimee Meek, Niamh Peren, Alice Galeffi, Diana Bain, Angela Johns, David Pickett, Nicky Verdon

Project Manager: Rachel Ruckstuhl-Mann Lighting Assitants: Dawson Clutterbuck, Isobel Dryburgh, Kate Roydhouse, David Pickett, Shannon Te Ao, Steph Willson Camera Operators: Luke White, Tarquin Prince-Pike
Camera Assitant: Thomas Cheung General Assitants: Debra Bathgate, Katherine Lowe Stylists: Ruby Read, Niamh Peren Film Documentation: Zhoe Granger Catering: Diana Lowe

Sponsors: Red Bull, Perfect Produce, A G Walters

joshua allen harris

2009-08-01T21:47:00.000-07:00

liquid

2009-07-30T21:05:00.000-07:00

It seems Annie Leibovitz is in ALOT of debt.. about 24 million to be exact. Failing to pay would mean bankruptcy and all ownership of her images and future images to the company 'Art Capital'.

Hopefully it won't come to that. It looks like she's putting all her eggs in one basket at this point, and having a sale..

Killers Kill, Dead Men Die. Annie Leibovitz

manbirdpig

2009-07-26T20:53:00.000-07:00

can't sleep. shooting aches and pains. tossing and turning all night in cold sweats. a continually rising temperature. headaches that will leave one questioning the act of god.

turns out i probably have swine. looks like the photoshoot, ben hur, etc will be pushed back ANOTHER week. ugh

Ben Hur 90%

2009-07-23T04:31:00.000-07:00

You'll all see this differently. Hopefully you're on a mac. because it looks dark and like vomit on a PC. so, new background in. I need to take out the sky, and put in a new sky.. i think. what do you think?

21 + yeezys + new look

2009-07-20T05:07:00.000-07:00

changed the blog. grey is out, white is in.
kinda surprised. according to analytics, people are actually visiting this blog. which is nice. so thankyou. i turned 21 today. or tomorrow. depends if you count midnight as the clickover or the actual birth time.. then i think it's about 6am. rough. picked up a new lens, a komura 500mm, f9 for my largeformat (which actually seems to be falling apart..). new work to come, things are on the plan..slowly but surely i will get over this slump and hopefully blow your minds.

wore my yeezy's for the first time. 30 in the country have a pair, 3000 in the world.
..waited in this ridiculous line to be one of 30/100 to get a pair.

i'm in there if you can find me..

oh ps. If you're around tomorrow, i'll be a tanukis cave from 7pm having a drink if you want

Ben Hur Update

2009-07-19T04:24:00.000-07:00

Quick update. Still editing... Drove south to desert road to shoot the background. Unfortunately everyone hated the background I had shot for it. so that was scrapped. Headed east and shot something else..which I'll be editing full on this week to finish

I expect to have this photo done next week, and then maybe another 2 weeks for color corrections etc. before it's in print

Lise Sarfati

2009-07-19T04:17:00.000-07:00

I often only give other photographers a passing glance. Rarely do they stick like my favourite three (Crewdon, Lorca di Corcia, Henson). So i thought i'd blog about them as I find them

Picked up 'Fashion Magazine' the other day, is quite a keeper. I am one for Sue De Beer-esque girl photos though..

I don't feel the need to say anything in depth.

Critical Studies 6 - Elizabeth Currid

2009-07-19T02:48:00.001-07:00

Where's my mark?
Gatekeepers, Hobbyists, Intermediaries and so forth define the success of Art/Culture as described by Elizabeth Currid. A reading I enjoyed, which as of late- is becoming a regular thing with my attachment to Tze Ming Mok's 'Race You There'. If Mok was my past, Currid is my present. Although not a present I am particularly settled with. These Gatekeepers, Hobbyists, etc. all go through a number of systems Currid mentions- but yet never actually defines the system itself. To form my own opinion of these systems, they are purely based on (like I just said) opinion. If it is a curator, a dealer and so fourths opinion of me that will lay down my future- I am worried to wonder what my future is exactly within the art world.

Death to the extrovert, I am not one of them, and we have all seen how far extroverts can go. If the events, openings etc. are the ground in which Gatekeepers feed from the Hobbyists, and the Intermediaries, this scene is where you need to be in order to survive. At some point in our lives, we have all seen the scene. In fact, most have probably been apart of it for a brief period- it's out fifteen minutes of fame. We are all slaves to the scene; if we defy it then we are the minority that the scene will eventually become. We know this is true from all the fan boys who have now lost their status and hierarchy because of Hollywood’s comic book-movie adaptations, much to the respect of Michael Jackson’s enormous overnight sales topping records since his passing.

I for one, am not particularly interested in gallery openings- for a social factor it isn't exactly my fortay, and your chances of actually taking in the works are slim with the mass crowds of extroverts all trying to dry hump the next curator. If this scene is where the cross fertilization, weak ties of the century happen- where would an introvert make his or her mark? Incapable of sparking a conversation to a stranger, incapable of the approach, there is nothing left for you (..And me) here. Outside of the event, outside of the scene, is there any other way in to the art world? I don't know anyone who's made it. If it's meant to be, if we're destined to make our mark somewhere down the line, how do I make mine?

Elizabeth Currid, "the Economics of a Good Party: Social Mechanisms and the Legitimization of Art/Culture", Journal of Economics and Finance, vol. 31, no. 2, Fall 2007, pp.386-394

Critical Studies 5 - Mok

2009-07-19T02:47:00.001-07:00

Race You There

I feel like there is some underlying tie with Tze Ming Mok, in the fact that we're both Asian. Politically and Ethnically. Some tie that to you, obviously a reader from Elam- a school where the majority is white, does not connect with. In a half truth, we have started in the same position, to grow up in Auckland in a central primary school but somewhere along the line I stopped politically calling myself Asian, even though Ethnically I am.

I distinctly recall a conversation reminiscing about primary school, that "Back then being friends with an Asian kid was cool" - that being said looking back at old class photos we only made up 1/10th of the class compared to my high school photos that there was almost 1/2 of us. Following the trend, "Being apart of something is cool", we, Asians, WE were the something cool- the minority that soon became an equal (in numbers), and now that we're no longer the minority it seems we have become less cool. And at the same time, less associated with the heritage. ..some of us anyway.

In some part, I think with the overflow of New Zealand art within schools and within galleries- this has defined art in this corner of the world. This new lavish growing of postmodern..Or almost post-postmodern art from the states is the new thing. "International Look" as Tracey Moffat describes it, is the new eye candy for me and I’m sure others alike.. But at some point someone is going to have to get over the giant oversized pictures on the wall from the latest and greatest Gregory Crewdson/Jeff Wall, and maybe make way for the later up comers, Stephen Shore and his latest (Uncommon Places) of 'mini' prints (Interview: http://www.theartnewspaper.tv/content.php?vid=544) or Lachapelle's cardboard cutouts- as what's in, will no longer be in for much longer. We must make way for the new us. The us that has yet to be defined, and I’m sure by time it is we'll only be looking back on it.

Dir. Unknown. Stephen Shore - Uncommon Places. Stephen Shore, Jean Wainwright. The Art Newspaper, 2009.

Tze Ming Mok, "Race You There", Landfall 208, Dunedin: Otago University Press, 2004, pp. 18-26.

Dealers

2009-07-08T00:54:00.000-07:00

someone's being represented by mcnamara galleries now

(that someone would be me)

SVA NY Thesis Show '09

2009-07-07T21:31:00.001-07:00

MFA Photography Students from SVA NY have a little of their thesis show online -

I wonder how much location affects your practice? i'm not too sure what to think of the work coming from masters students. with few exceptions, i kinda expected more from such a highly rated school. what do you think?

Om

2009-07-05T05:48:00.001-07:00

i haven't blogged in ages. i also have a bunch of critical studies essays i haven't posted. because they're not quite fin. so they just pile up..

thought this was interesting:

"Om [awm] Show IPA
–noun Hinduism.
a mantric word thought to be a complete expression of Brahman and interpreted as having three sounds representing Brahma or creation, Vishnu or preservation, and Siva or destruction, or as consisting of the same three sounds, representing waking, dreams, and deep sleep, along with the following silence, which is fulfillment."

also went to desert road/taupo/wellington this week and took photos that will finally finish the 'ben hur' shoot- among other photos that i think will be diptics if i can get my shit together.

the end of 'still' and ben hur

2009-06-10T02:06:00.000-07:00

i think i pretty much only post about this one photograph. ..it's been so long editing it. but it's coming together-

i've done a mock of what the sky/backdrop with old photos i've taken so I could see what it would potentially look like (with a little more to scale with the cars..)

i'm also in a show. which i forgot to mention
it actually ends in 10 days- 20th of june. It's running at George Fraser Gallery, and is apart of the auckland photography festival

The gallery is open thur - sat, 11am - 4pm. So i guess if you haven't had a look, you might like to.

Still
Work by Dane Taylor, Mhairi-Clare Fitzpatrick, Geoffrey H. Short, Carolin Casey, James Lowe. Curated by Ariane Craig-Smith

A list of Graduate Schools (in the US)

2009-06-05T00:20:00.001-07:00

it's coming to the point where I need to think about applying to schools if i want to continue studying next year. Obviously- first choice is America. Since most of the websites are TERRIBLE- and i often forget information.. i'm going to start compiling it here (..if you have plans on going i guess you'll find this pretty good. otherwise useless.)

So. where should i apply for?

Yale University

MFA 2 Years | 9 Students | No GRE | 20 Image Portfolio (CD) + 1 Page (12pt) Statement + 3 Ref | 28.5k
Faculty:Richard Benson, Gregory Crewdson,Tim Davis, Philip-Lorca DiCorcia, Paul Graham, Lisa Kereszi, John Lehr ..

App. Due: 16th January 2010

Rhode Island School of Design

MFA 2 Years | 200applicants/7students | No GRE | 20 Image Portfolio (CD) + (500-750) Statement + 3 Ref | 34.5k/Year
Faculty: Deborah Bright, Ann Fessler, Henry Horenstein, Steven Smith, Eva Sutton..

App. Due: ?

University of New Mexico/College of Fine Arts

MFA 2 years? (WORST WEBSITE EVER) | No GRE |15-20 Image Portfolio (CD) + Statement (< 3 Pages) + 3 Ref
Faculty:Patrick Manning, Joyce Neimanas, Adrienne Salinger, Jim Stone

App. Due: January 15th 2010

Rochester Institute of Technology/College of Imaging Arts + Sciences

MFA 2 Years | 15 Students | No GRE | 20 Image Portfolio (CD) + Statement (<500) + min 3 Ref | 31.5k
Faculty: ? stupid website.

App. Due: January 15th 2010

..can't be bothered looking any more at the mo.
to come:

School of Visual Arts: New York
CalArts
UCLA (and other schools in the UC system. UCirvine?)
The Art Institute of Chicago
look into ICP ?

outside of America:
University of British Columbia
Taik - The Helsinki School
Some school in melbourne i can't think of it. Not VCA cos apparently they're going to the shit right now.

rough abstract. lazy drawings

2009-06-03T17:26:00.000-07:00

Sartre established the process of thought into five states within the human mind naming them as 'quasi-relations of the in-itself'. The Process of thought sits within the human brain, located at the Pineal Gland- often defined as the 'Seat of the Soul'. Here we have a point of thought and process that exists outside of time and space within a body that sits within time and space (the pineal gland, the brain, the body and so forth). The connecting point between the inside and outside, differentiating real and reality is the 'external self' - our facticity, world around us and our own impression and universal impression. This 'soul' could potentially be described as a 'black hole' - or rather the definition I put forward to a black hole being a non-physical connection point between two places: Our soul, with the greater. The greater being that of the universe, the unexplainable- what we might often try to comprehend with religion. In the connection with the greater, we are also in a sub-relation with everyone around us through their connection with the same point. A give and take relationship which can only describe a full circle of equality- 'what goes around comes around'. we are all tied to the external.

blogging because i'm angry.

2009-06-03T00:01:00.000-07:00

spent the whole day fixing up minor things. changing everyone's registration dates to 2012. ..and then the computer crashes during save.

ARGH!

Ben Hur/Working File

2009-05-25T21:26:00.000-07:00

So the initial comp is complete- (..except for the clear cutting parts. which i've done roughly to just see what it'll look like)

i expect it to be something like this:

(..you should click on it)

still need to go out and photograph a background for everything to sit into. ..and fix the levels/colours, add the backlighting where it didn't work, etc..

BUT! ignoring the initial concerns and problems- so far, so good.

so what should i print it on? can't be gloss. too reflective. kodaks semi matt? maybe photorag? i duno.

Critical Studies 4 - Where's my original

2009-05-24T03:23:00.001-07:00

"Wherever I go people say to me that they must take me to see New Zealand's last bit of original bush. I have been driven through miles and miles of it since I have been here, and each bit seems to be just as much as the last and just as original as the one before." (Park 2)

It seems to me that the original can never be constant, always formulating and changing with time. From this reading, I take my own relationship with the original- or rather the familiar, as I would like to rename it. It seems with each photograph I create, I look for something new and original to me because it is far more compelling than what I live around each day. The only time I have used an area around where I live was when it was suggested, or rather forced upon me- up until that point I would have never of considered it.

If my surroundings influences the location in which I create my work, is it okay to assume that someone’s experience of my work is in which the same? In a stretch, we are constantly looking for something new. New to the artist, and in consideration, new to the viewer. This role in change is inevitable.

What has come around lately with the rise of the 'art school' genre is the emphasis on the statement. Simply, what photography once was now deals with all matters of concern. The concept renewed into what I believe is the postmodern. What Lyotard stated, the aesthetic properties of the medium are second to the concept and ideas of desire. If it is the failure of a statement, the work itself suffers. The failure to provoke beauty in an object through a simple text could possibly describe the either or two things:
1. The inability of the past to look upon the present. Or
2. The end of post modern.
Jeorg colberg's essay of 'what is a statement' (Colberg) describes the first in the split view of the statement. But it seems with the statement it becomes a split between the past and present or possibly a split between the art school and the outside world. The treatment of work currently resides in those two places, rarely in both.

Geoff Park " Theatre Country", in 'Theatre Country : Essays on Landscape and whenua', Wellington : Victoria University Press,2006, pp.113-127

Colberg, Jeorg. "Defining One's Work." Conscientious. 18 May 2009. Jeorg Colberg. 20 May 2009

something you should watch

2009-05-18T05:10:00.000-07:00

If i'm to be living in America soon. Then you should watch this since this is where I hope to be one day.

(In my opinion, these are some awesome blogs..) Jeorg Colberg of Conscientious, Cara Phillips of Ground Glass, Andrew Hetherington of Whats The Jackanory, Laurel Ptak of I Heart Photograph and Brian Urlich of Not If But When came together for the New York Photography Festival (NYPH) and had a little (and rather interesting) Q&A and to express their opinions on the impact of photoblogging on the larger photography community in a conference on may 15th..

the majority of the conference can be viewed here. (filmed by M. Mallard)

We Live Here, Nowhere Near You

2009-05-15T23:55:00.000-07:00

so it seems i'm sick. i blame winter. although my sister said i'd get sick since everything's calmed down post-shoot. As for progress report, 3 scans down. 13 to go. i'll have a rough cut of the final product by the end of the week (unless i get even sicker).

you'll be happy to know i've started drawing again. unless you hate my drawings. then well.. sucks doesn't it.

troubbble

2009-05-13T20:43:00.000-07:00

my shit don't align. photoshopping it together isn't as easy as i first thought. never shoot on 2 seperate cameras

post-shoot

2009-05-10T02:45:00.000-07:00

post shoot stress.

shoot day has been and gone. the day started at 8am and finished at 1am (for me). long. we were 2 hours behind during the day with test setups, an hour behind with shoot and somehow managed to finish only 30mins behind schedule..(which is pretty good for me considering the last shoot big shoot i did took 3 hours longer than i thought and i only had 2 setups)

alot of issues. no syncing with pocketwizards/cameras, continuity with lighting was an issue, framing with the cameras on scaffolding..list goes on.

can only cross our fingers from here on in. transparencies back by friday (i hope)

late

2009-05-06T14:46:00.000-07:00

class in ten. too much to do. two days remain.

overhead layout of shoot

don't miss anyone/don't miss anything

2009-05-06T03:17:00.000-07:00

pretty tired, pretty overwhelmed. shoot in 3 days.

Nobody Shoot Overview

2009-05-05T20:13:00.000-07:00

Set during winter in the middle of the night, a large group of people from across the city have congregated together to witness an astrological spectacle (titled the Deus Ex Machina). Translated to be known as ‘the god machine’. This Deus Ex Machina is described in greek plays as a device that comes down from the sky to be the solution of a problem. Sitting, waiting for a long period of time, the witnesses become tired and restless, confused about the spectacle- are they in the right place? Is it even going to happen tonight? The air settles, the feeling of a still break before a storm, clouds form in the sky, and things begin to happen. Some witnesses are unaware as it begins, others drawn up in gaze towards an opening in the sky. It is not fear that is expressed on their faces, but rather the dull in-between expression of waiting, realising what is really happening and relief.

Dress Code:

The shoot is taking place during night, Please wear your usual winter clothes with the following exceptions:
- No white/light coloured shoes (unless specified)
- Preferably stay away from bold/bright colours (ie. Bright Red. but dark red is ok)
- No reflective material
- Stay away from visible large logos
Apart from the above, anything is welcome. I encourage you to accessories ie: bring scarfs, beanies/hats, gloves etc.

Call Times:

5.30PM - 8.00PM:(Shoot Time 6-7)
Grant Foster: Alexei Foster
Matt Monk: Joe Locke, Terina Skudder, Cheryl Edwards
Diana Lowe: Loretta Fong
Alice Wong: Sarah Hughes,
Michael Lee: Friends x 2
Mina Melsom:

6.00PM - 9.00PM: (Shoot Time 7-8)
Charlotte Stevens: elena wenn, melanie bell
Claire Rorke: Emma Mearns
Anna Wilson: Tautahi Subritzky, Anna Langford
Yi Zhen Lai Tremewan: Calum Hunderson, + 1 more
Mei Cooper: Alex Hoyles,
Emma Mearns: Brekk Bockrath, Sophia Ong

7.00PM - 10.00PM: (Shoot Time 8-9)
Kate Roydhouse: Isobel Dryburgh, Steph Willson, Charlotte Stevens, Huni Mancini
Nivin Sewpershad: Xerxes
Mark Finch: Katherine Lowe
Thomas Cheung: Ruby Read, Zhoe Lavinia Granger
Rebecca Boswell: Reuben Stevens, Zac Langdon-Pole, Alex Davidson
Leilani Heather:

8.00PM - 10.30PM(Shoot Time 9-10)
Shannon Teao: Dawson Clutterbuck
(Deb) Rose Hanson: Niamh Peren, Alice Galeffi, Aimee Meek
Diana Bain: Angela
Nicky Verdon: David Pickett

See you there everyone.

Critical Studies Three - Post Modernism

2009-05-05T04:19:00.000-07:00

French philosopher, Jean-Francois Lyotard's 1984 work 'What is Postmodernism' undoubtedly takes us through the history of demand. If we need the past to define the present, and it is the present that we have currently defined- what's after Postmodernism?

Just as Postmodernism did to Modernism, Modernism undertakes the rules of Realism- redefines in order to fulfill the 'demand' Lyotard speaks of with the end of to experimentation and united front of philosophy. As he quotes Habermas: "Changing the status of aesthetic experience when it is no longer primarily expressed in judgments of taste" (Lyotard 72) Easily could taste and beauty be overlooked, I believe he means taste to be more than first hand judgment that beauty is considered. Background information and concept must be taken into account.

The work of modern artists leaves concept to fulfill beauty as opposed to Avant Garde work which uses the medium- painting, the material to present the un-presented, that being beauty. Through way of brush strokes it is history that is painted not concept. In a forever attempt to achieve art in its purist sense, it seems that the un-presentable is in fact un-presentable. If true, then Postmodernism and by extension Modernism (in its latter) went the opposite way, by doing the negative - the 'missing pieces', looking at concept as a connection point to the viewer to relate to an experience where the un-presentable exists. What Zizek describes as the un-presentable only being real when one experiences either beauty or terror (Zizek 8).

What we take from this is the impossible. At what I consider the defining point of Lyotard essays: "Finally, it must be clear that it is our business not to supply reality but to invent allusions to the conceivable which cannot be presented" (Lyotard 81). In a belief that the un-presentable is impossible, and that creating an allusion can trigger that within the mind is where Postmodernism sits. Sartre's work of 'real and reality', describes each a reality of our own taken from the real. It is that little doorway from real to reality that could represent Beauty and complete the circle. Although to what would be considered a success may need to have the social popularity of Avant Garde painters, or that could possibly only be a status achieved through history.

Jean-Francois Lyotard, "Answering The Queston: What Is Postmodernism?", trans. Regis Durand, in The Postmodern Condition: A Report on Knowledge, Minneapolis: University of Minnesorta Press, 1984m pp.71-82.

Zizek, Slavoj. "Welcome to the Desert of the Real". Re:constructions. 2001. MIT Comparative Media Studies. 9 September 2009

Flynn, Thomas. "Jean-Paul Sartre." Stanford Encyclopedia of Philosophy. 22 Apr 2004. Stanford University. 6 May 2009.

Critical Studies Two - The Expanded Field

2009-04-17T00:49:00.000-07:00

Infinitely malleable, Sculpture is one of those terms that manipulates and forms to the current social context. Rosalind Krauss explores this in her 1979, outdated piece 'Sculpture in the Expanded Field'. It is history that is documented by Sculpture she states. To be created in a single time and place. Rodin's "Gates Of Hell" as described in 'Sculpture in the Expanded Field' uses 'Gates of Hell' as an example for Sculpture to be recreated in a site but non existent in it's original, therefore eliminating it's association with time and place. Which is the beginning for sculpture to become something much more.

It is the Vanguard aesthetics, the ideology of the new, that sculpture reinvests itself with. A slow process, but yet something that does happens effectively. "The new is made comfortable by being made familiar" krauss states in 'Sculpture in the Expanded Field'. Without significant leaps being recorded as a new significant leap, it is the history of sculpture that takes the blow, lessening the gap between old and new. An effect that has allowed sculpture to have such a manipulative term.

Everything may be considered new but it is all translated differently between people. Therefore it is reduced to time and space. The allowance of indexes, indices and signs are used to familiarize ourselves with the unfamiliar. More than art, we've taken sides with the unfamiliar- embraced it or treated it as hostile. For example Lakshmi, the eight limbed baby born with isciopagus. (Surgery on eight-limbed baby Lakshmi 'a success' 2) Warmed and worshipped by some, or rejected by others. It is the distance between science and faith. If we have been taught anything from children books and Hollywood cinema it is that we throw sides between the unfamiliar. We take example in Trousdale and Wises' Beauty and the Beast, Spielberg's E.T, with the understanding of a free willing mind against an older inhospitable mind.

Is it with time we become more hostile within ourselves? Critical of the new, less opening to the new experience, I personally find myself pondering what critical parts of my life do I take for granted. Pushed to stand my ground with what I know and what I don’t, or am unwilling to change. Is it a natural reaction to redefine the unfamiliar with what we know already in order to understand it? And if this is the case, restriction of the process can only create a future that falls short.

Roaslind Krauss, "Sculpture in the Expanded Field", October, Vol.8 (Spring, 1979), pp.30-44

O'Connor, Ashling. "Surgery on eight-limbed baby Lakshmi 'a success'". Times Online. 7 Nov. 2007. The Times 29 April 2009.

Dir. Gary Trousdale, Kirk Wise. "Beauty and the Beast". Paige O'Hare, Robby Benson. Walt Disney Feature Animation, 1991.

Dir. Steven Spielberg. "E.T: The Extra-Terrestrial". Henry Thomas, Dee Wallace, Robert MacNaughton, Drew Barrymore. Universal Pictures, 1982.

more people?

2009-04-12T22:22:00.000-07:00

russian red

2009-04-06T21:51:00.000-07:00

i wouldn't normally post about music,
but lately nothing's really hit me until now-

Russian Red aka Lourdes Hernandez.
indie/pop/folk/cute.

check out the vid to 'they don't believe' off her first release 'i love your glasses' signed with Eureka Records

my bet is on her this year.

Nobody Belongs Here More Than You (Photoshoot)

2009-04-03T03:41:00.000-07:00

"Drawn between real and reality, there a split in what we know, what we see and what we perceive.

A spectacle in the sky creates a congregation of people towards the unknown. Looking towards the other-self for all the wrong answers and pushing the gap from the presence-to-self they start to rely on the external-self/the spectacle/the Deus Ex Machina to close.

Torn between the in-itself and for-itself, there is no unity within. It is the journey, not the solution they are looking for."

As an overview-

I am putting together a photoshoot with roughly 20 cars, 60 people (to sit in those cars/stand next to.etc) all shot in a sort've 'apocolyptic traffic jam'. I'm after as many people as I can get to be in the shoot, and also cars-

As i've mailed most of you about cars, could you please give me a quick message to confirm that new dates are ok. and also if you do have a car, and are totally sweet about using it in this shoot then could you give me details like below:

Type of car/Colour: (ie. sedan, polkadot)
How many doors: 2/4
And if you have a photo you could send, that would be perfect.

(i just need these details cos everything car needs its own lighting plan)

Aswell as this, I'll be shooting the cars in sets of 2, and then also in their rows. So you will only be needed for the row of car you are shooting in. After I have a full plan, I will have a list of times needed for arrival and also whos car/whos in your car. etc

Ontop of this, I am looking for several helpers to stick with me during the time. People to help move around lights, set up scaffolding, someone managing the laptop, and someone to manage 2 largeformat cameras.
..Alot of people. but if you're keen i'd love to have you on board.

Also, this date is only pencilled. it should not move, i'm relying on other people. so sorry if it does. and sorry for the mass amounts of emails i've been sending lately

Details:
Date: Saturday, May 9, 2009
Time: 6:00pm - 11:00pm
Location: (2nd Entrance) 10
Street: Gabador Place, Mt Wellington
City/Town: Auckland, New Zealand
Phone: 021871067
Email: jamesklowe@gmail.com

quasi relations (facticity compedium)

2009-03-30T04:30:00.000-07:00

My account of where events/objects exist in comparison to us, and where we exist within the universe.

for some reason no internet image hosts like my facticity compendium.. so this fuzzylined one will have to do for now.

a means to an end

2009-03-26T03:30:00.000-07:00

Deus Ex Machina (ěks mä'kə-nə, -nä', māk'ə-nə)

An unexpected, artificial, or improbable character, device, or event introduced suddenly in a work of fiction or drama to resolve a situation or untangle a plot.

thus,
my circle is almost complete.

quasi relations of the in-itself (sartre)

2009-03-24T19:02:00.001-07:00

"..the real is that which escapes this conception of reality. It is all that is before, after and underneath reality, it is all that is not yet domesticated by our technical, scientific, and social relations.."

- henri van lier

when

2009-03-24T00:41:00.000-07:00

i've been thinking lately,
when's the right time to formally make an equiry for representation to a gallery?

i suppose noone's going to have a straight answer. noone ever does. but when that time does come, JM Colberg has a blog on the 'how to' approach (and links to another by Joanne Mattera and one more by Edward Winkleman. it never covers enough (for me personally), but it's a nice start

so. if anyone has any thoughts, when?

claim to fame

2009-03-20T01:55:00.000-07:00

i got hold of canvas tonight/instead of getting it with tomorrows paper.
so it's pretty exciting

if you want to read what silly shit i have to say.. you can here, and here
so now that i have my claim to fame. anyone want to give me a job?

tomorrow/no cannes

2009-03-19T19:47:00.000-07:00

tomorrow my jerky face will in peoples mailboxes.
just like it was yesterday.. um bro. check out the cheesy pose!

oh dear.
last year me and shannon teao was shortlisted to be sent to the sony cannes photography fest.
we didn't make it. i'm not surprised though. it was up against 120 other students across the world.

here's what i put in.

greg and his racoon

We verge on breaking the harmony between all life on Earth, pushing boundaries in the dominance of fellow mammals, reptiles, birds and fish. Although this is not New Zealand's number one concern, we certainly place ourselves within the issue by taking a vocal and liberal stance in the support for keeping the cycle and balance in the world. Looking at life through the unfamiliar eyes of our co inhabitants, we strain the position in which we as mammals live our lives and affect those around us. We leave the need for individual survival; in consequence suppress the evolution of not only ourselves but the life on Earth we share. It's no longer what we're doing to animals, but what we're doing to ourselves.

Critical Studies One - What is an Image?

2009-03-18T21:03:00.001-07:00

WJT Mitchell, in 1986, he comments on the work of Mark Twain’s and Doris Lessing’s theory of ‘what is an image?’ is the exploration of limits in pictorial expression and language. The idea of simplification of pictorial works through language- specifically through painting (but what I familiarize myself with in this essay is photography, which I believe the theory still applies.) Taking an experience from viewing an image and explaining it with language is what Lessing argues as incapable. Taking the notion of story telling and trying to convey it through a static image is what Lessing notes as ‘grotesque forms of allegory’ (Mitchell 41) as explaining progressive forms to static forms does not translate. Twain also forward for the theory rather than criticizing the idea explains the limits. Which we know as the failed translation. From which we further take language and break it down into Henri Van Liers work of ‘signs, indexes and indices’ (17-20).

In Agreement with Twain and Lessing that a full experience, but not an experience at all, is lost through the translation into language, the work of Henri Van Lier’s ‘Real vs. Reality’ (36-38) can help elaborate. From the present time, what we currently experience should be noted as real, it couldn’t be explained in any shape or form created by humanity. That is to say the quasi-relations of the in-itself by Sartre or rather it “is not yet domesticated by our technical, scientific and social relations” (Van Lier 36). Contrast to real, is what we have domesticated from it- in any form, language or pictorial expression we take of the real, becomes reality. A system needed to function within humans for able-bodied communication- breaking down real into reality through signs, indexes and indices. A variety of international intentional and non-intentional signs and symbols that indicate to our brain. The notion that a red car is the colour red.

Van Lier, Henri. Philosophy of Photography. Belgium: Leuven University Press, 2007.

W.J.T Mitchell, "what Is An Image?, Iconology: Image, Text, Ideology. Chicago: The University of Chicago Press, 1986, pp.40-46.

i'm in the newspaper

2009-03-18T20:50:00.001-07:00

i'm in the newspaper this saturday.
apparently with a terribly cheesy photo next to my camera. shock horror. srsly.

bullet pointing the project

2009-03-18T20:36:00.000-07:00

bullet points for the relief of stress.

the thing:

potential beings? the manipulated mind. unrealised, and malleable. workings through mind/spiritual. as opposed to body/physical.

the opposite:

realised beings. although working through the mind, this is rectified through the limitations of the physical world.

to create in narration-
the mind could possibly exist without the body. It will not exist physically- in a state that we are capable of viewing but rather as something more.

(imaginative friends?)

through physical, it sits within the brain.
pineal gland. between our two hemispheres (of the brain)
-affects the modulation of wake/sleep patterns.

the production of melatonin in the pineal gland is simulated by darkness and inhibited by light.
- melatonin promotes sleepiness. blue light inhibits melatonin production specifically.
(wearing blue blocking sunglasses increases production)

-induce different affects of the mind.

dissimulate - to hide under false pretenses.

to create in narration-
we live within a world we have to dissimulate from others who do not understand.

the real and reality.
real, being the present of what we experience. reality being the post-experience/a copy of the real.

through language, we simplify what we experience. the real broken down into reality. for the understanding and communication between humans become a photograph of a photograph.
the limit of language.

(boundaries?)

through the explanation of the real it becomes an unintentional dissimulation of the real into reality.

the way you measure reality.

______________________

influence.
(light with the production of melatonin, real on unrealised, etc)

the medium becomes the language.

pictures make a megablog

2009-03-18T20:28:00.000-07:00

pictures help things look pretty
pretty things from late 2008

megablog

2009-03-18T20:13:00.000-07:00

i have a megablog.
srsly.