Firstly I must look for a coherent definition to the words Immediacy and Hypermediacy.
Photographic examples of immediacy:Instagram.The representation of real life to the extreme (advertising)
Photographic examples of hypermediacy: David Hockneys polaroid works
The logic of immediacy is the idea that technology should closely reflect the real world in order to create a sense of presence (316). Or, the desire for immediacy is the desire for an experience without mediation (317, emphasis added). Immediacy, then, demands transparency—an interface that erases itself so that the user can stand “in an immediate relationship to the contents of the medium” (318). Bolter and Grusin provide a number of examples here for how transparency actually takes place—through linear perspective, the mathematization of space, the automation of the linear perspective—but I find their example of computer programming most compelling. They argue that, though humans create computer programs, these programs operate without human intervention—ensuring erasure or transparency (322). Immediacy, then, is twofold: “For if immediacy is promoted by removing the programmer/creator from the image, immediacy can also be promoted by involving the viewer more intimately in the image” (324).
Hypermediacy doesn’t seek to erase mediation; rather, it “privileges fragmentation, indeterminacy, and heterogeneity” and “emphasizes process or performance rather than the finished art object” (Mitchell qtd. in Bolter and Grusin 327). Hypermediacy is comprised of a combination of images and sounds and text and video in order to construct multiple representations within a heterogeneous space (328). The example Bolter and Grusin provide is a standard desktop interface with multiple windows open. At any given point, I have multiple Word docs, numerous Safari tabs, iTunes, and Acrobat Pro open on my computer; and I’m usually using my phone to text and check social media. This experience is constantly mediated, which reminds me—as the user—that my windowed computer is both automatic (rather than transparent) and interactive (329).
I once worked in a world of vast Immediacy(Fashion Photography) and now I work in the opposite world.That of showing the process first hand and recording imagery.There is no code.The code is made up by others viewing the work.Working without a point of reference is very freeing.The errors that occur are 'happy accidents' that add to the art and make the experience of viewing more fulfilling.
http://www.atlasgallery.com/exhibition/light-worksDuring the months and years that followed, the image evolved into a symbol of the Nicaruan revolution.
To create an iconic symbol through the use of photography would be an absolute privilege. I can, however, understand the artist's frustrations. In these 'digitally regurgitated times' perhaps we as artists should be open to collaborations in order to perpetuate a cause or even our own art forms.
The photographer: created a symbol that summed up the unrest the day before Somoza fleed Nicaragua forever in July of 1979.
An excerpt from the photographer's website:
I spent six weeks there principally, because all I could feel was that I wasn’t doing anything that gave a feeling for what in fact was going on there. Not going on in the world of events, but going on in terms of how people were feeling. And that still plagues me because I am not a war photographer in the sense that I didn’t go there for that purpose. I’m really interested in how things come about and not just in the surface of what it is.
Susan Meiselas (Links to an external site.)
Yet an iconic symbol was created. The image then went on to inspire many.
By making an image to be observed, framed and exhibited in such a way that it outlasts both the subject and the producer, we find ourselves with the ability to construct objects of worship. It could then be said that photography doesn't merely record iconicity but also generates it. REF 2
REF:1:https://en.wikipedia.org/wiki/Molotov_Man
REF 2:http://infocus.gettyimages.com/post/what-is-iconic-imagery#.Wx4zs0gvyUk
Within your own project are you explicitly referencing your inspiration and visual materials or purposely not acknowledging them?
How do you think your images will be used once you have gone and how could you control or shape that?
Photography
The Fun of it!
The magic of it!
In this week, you were asked to think about whether a photograph can be considered finished. By referencing, borrowing, appropriating, stealing, adopting, copying, paying homage or remixing, it is possible to consider that images might have a life beyond what we imagine. In this sense, all images – not just digital ones – arguably have indeterminacy, or do they?
Tasks
Think about:
What approaches were of most relevance to your practice.
Where your original contribution may be, especially if all mediation can be considered remediation.
How authorship might differ from intent.
What constructive approaches could be taken if someone remixed your work.
In your CRJ, write a short summary about:
What you did during the week, feedback received and how you will respond to that.
Any reconsiderations to the core methodology of your practice.
The forms your project / photographs could take moving forward.
This week I thought of Banksy The graffiti artist:
I had purchased some balloons for a birthday celebration in my house.The balloons were extra large and when blown up were amazing and very inspirational to my work.
I shot some photographs with them last night as a test shoot to see where I could take this inspiration.
I am also interested in the subliminal effect of work that we have seen before and therefore this is apt for week twos look at resuing imagery.
subliminal
səˈblɪmɪn(ə)l/
adjective
PSYCHOLOGY
(of a stimulus or mental process) below the threshold of sensation or consciousness; perceived by or affecting someone's mind without their being aware of it.
The balloons are quite photographic. Bright in colour I produced a series on my phone to start to understand the technical aspects. I didn't actually want the balloons in focus.I needed to blur the focus.The inter relations of the balloons was very key as I photographed them. Any hint of reality would not be acceptable for this group of photographs.
To analyse this I need to unpick this state of shooting.
1: No focus
2: No reality (fantasy)
3: Bright colours
4: Inter relations between the shapes and colours are important.
5: Shapes that are organic
Mihaly Csikszentmihalyi
Csikszentmihalyi in 2010
Born29 September 1934 (age 83)
Fiume, Kingdom of Italy (now Rijeka, Croatia)
Alma materUniversity of Chicago
Known forFlow (psychology)
Positive psychology
Autotelic activities
Scientific career
Doctoral studentsKeith Sawyer
The native form of this personal name is Csíkszentmihályi Mihály. This article uses Western name order when mentioning individuals.
Mihaly Csikszentmihalyi (/ˈmiːhaɪ ˈtʃiːksɛntˈmiːhaɪ/, Hungarian: Csíkszentmihályi Mihály, pronounced [ˈt͡ʃiːksɛntmihaːji ˈmihaːj] ( listen); born 29 September 1934) is a Hungarian-American psychologist. He recognised and named the psychological concept of flow, a highly focused mental state.[1][2][page needed] He is the Distinguished Professor of Psychology and Management at Claremont Graduate University. He is the former head of the department of psychology at the University of Chicago and of the department of sociology and anthropology at Lake Forest College.[3]
Concentrating on a task is one aspect of flow.
In positive psychology, flow, also known colloquially as being in the zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one's sense of space and time.
“The best moments in our lives are not the passive, receptive, relaxing times… The best moments usually occur if a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile.”
– Mihaly Csikszentmihalyi
(Here’s a fun trick to remember his name: “Me high? Cheeks send me high!”)
https://positivepsychologyprogram.com/mihaly-csikszentmihalyi-father-of-flow/
After a meeting with Lecturer Gary Macleod:
I questioned him on reference material that would help me understand my photography state better.By this I mean that I have identified 6 levels or elements that I require to 'make' or create a photographic image.
1:No focus ( No reference to reality)
2:A penchant for bright colours
3:A relationship between two shapes generally organic shapes
4:A love of inanimate objects
He first attempted to rule out the idea of taking a picture rather than making it.
My understanding of this is making a photograph is about creating ART and taking is about recording.
He recommended The edge of Vision by Lyle Rexer and Henry Bergson 'Duration'
In his best known work, Creative Evolution (1907), Bergson made it clear that he accepted evolution as a scientifically established fact. He was born the year The Origin of Species was published and Creative Evolution adds a vital missing dimension to Darwinian theory. He believed that the failure to take into account the real time underlying the whole process results in the failure to appreciate the uniqueness of life. Bergson proposed that the evolutionary process should be seen as the expression of an enduring life force (élan vital), that is continually developing. Evolution has at its very heart this life force or vital impulse.
We then went on to discuss Flow the idea of Flow: by
Mihaly Csikszentmihalyi
and
A Tenth of a Second
A HISTORY
86
Publication supported by the Bevington Fund
288 pages | 33 halftones | 6 x 9 | © 2009
In the late fifteenth century, clocks acquired minute hands. A century later, second hands appeared. But it wasn’t until the 1850s that instruments could recognize a tenth of a second, and, once they did, the impact on modern science and society was profound. Revealing the history behind this infinitesimal interval, A Tenth of a Second sheds new light on modernity and illuminates the work of important thinkers of the last two centuries.
Tracing debates about the nature of time, causality, and free will, as well as the introduction of modern technologies—telegraphy, photography, cinematography—Jimena Canales locates the reverberations of this “perceptual moment” throughout culture. Once scientists associated the tenth of a second with the speed of thought, they developed reaction time experiments with lasting implications for experimental psychology, physiology, and optics. Astronomers and physicists struggled to control the profound consequences of results that were a tenth of a second off. And references to the interval were part of a general inquiry into time, consciousness, and sensory experience that involved rethinking the contributions of Descartes and Kant.
Considering its impact on much longer time periods and featuring appearances by Henri Bergson, Walter Benjamin, and Albert Einstein, among others, A Tenth of a Second is ultimately an important contribution to history and a novel perspective on modernity.
MAJOR INPSIRATION:olafur-eliasson
https://www.modernamuseet.se/stockholm/en/exhibitions/olafur-eliasson/
https://www.modernamuseet.se/stockholm/en/exhibitions/olafur-eliasson/artist-talk/
Bill Jay: Snipets from the essay 'So Much for Individuality'
Our cherished individuality is largely an amalgam of a myriad of forces
and influences which, only occasionally, can be sorted, seen and acknowledged.
Much more controllable, and therefore useful, is willful influence. As we are constantly
influenced by the ideas and images of others anyway, perhaps we should make greater
effort to make these influences more overt and direct. Lionel Trilling said: "The
immature artist imitates. Mature artists steal. "
This paragraph is exactly week 2!
The big ideas in my work are the exploration of Flow 'The mesmoric state' and Psychology of creating and producing imagery in an artistic context.
The work splits into two areas
The flow of time in the production phase:the paper,the exposure(the time according to the sun and its intensity),
The making of the work: the placing of the rocks(interrelations of the objects) The space between the rocks and what that represents.Psychoanalysis.The digital recording
Control: the element that which a photographic artist must have at all times in order to create at the highest level. I have recently been interested in the 'successful image' and what that needs to be created.
Gary also mentioned chemegrams....
http://www.vam.ac.uk/content/articles/c/camera-less-photography-techniques/http://www.atlasgallery.com/exhibition/light-works
file:///C:/Users/megan/vanda-shadowcatchers.pdf
Luis Nadeau, Encyclopedia of Printing, Photographic and Photomechanical Processes New Brunswick, NJ (Atelier Luis Nadeau), 1989, and the related website, photoconservation.com
Gordon Baldwin, Looking at Photographs: A Guide to Technical Terms Los Angeles and London (J. Paul Getty Museum in association with the British Museum Press), 1991
As we work through the week, consider how transparent you might be regarding the medium you use. Do you err towards immediacy or towards hypermediacy? How explicit are your sources within your work? Furthermore, what is your original contribution to the conversation in which your images participate?Within your own project are you explicitly referencing your inspiration and visual materials or purposely not acknowledging them?
How do you think your images will be used once you have gone and how could you control or shape that?
Photography
The Fun of it!
The magic of it!
In this week, you were asked to think about whether a photograph can be considered finished. By referencing, borrowing, appropriating, stealing, adopting, copying, paying homage or remixing, it is possible to consider that images might have a life beyond what we imagine. In this sense, all images – not just digital ones – arguably have indeterminacy, or do they?
Tasks
Think about:
What approaches were of most relevance to your practice.
Where your original contribution may be, especially if all mediation can be considered remediation.
How authorship might differ from intent.
What constructive approaches could be taken if someone remixed your work.
In your CRJ, write a short summary about:
What you did during the week, feedback received and how you will respond to that.
Any reconsiderations to the core methodology of your practice.
The forms your project / photographs could take moving forward.
This week I thought Banksy The artist:
I had purchased some balloons for a birthday celebration in my house.The balloons were extra large and when blown up were amazing and very inspirational to my work.
I shot some photographs with them last night as a test shoot to see where I could take this inspiration.
I am also interested in the subliminal effect of work that we have seen before and therefore this is apt for week twos look at resuing imagery.
subliminal
səˈblɪmɪn(ə)l/
adjective
PSYCHOLOGY
(of a stimulus or mental process) below the threshold of sensation or consciousness; perceived by or affecting someone's mind without their being aware of it.
The balloons are quite photographic. Bright in colour I produced a series on my phone to start to understand the technical aspects. I didn't actually want the balloons in focus.I needed to blur the focus.The inter relations of the balloons was very key as I photographed them. Any hint of reality would not be acceptable for this group of photographs.
To analyse this I need to unpick this state of shooting.
1: No focus
2: No reality (fantasy)
3: Bright colours
4: Inter relations between the shapes and colours are important.
5: Shapes that are organic
Mihaly Csikszentmihalyi
Csikszentmihalyi in 2010
Born29 September 1934 (age 83)
Fiume, Kingdom of Italy (now Rijeka, Croatia)
Alma materUniversity of Chicago
Known forFlow (psychology)
Positive psychology
Autotelic activities
Scientific career
Doctoral studentsKeith Sawyer
The native form of this personal name is Csíkszentmihályi Mihály. This article uses Western name order when mentioning individuals.
Mihaly Csikszentmihalyi (/ˈmiːhaɪ ˈtʃiːksɛntˈmiːhaɪ/, Hungarian: Csíkszentmihályi Mihály, pronounced [ˈt͡ʃiːksɛntmihaːji ˈmihaːj] ( listen); born 29 September 1934) is a Hungarian-American psychologist. He recognised and named the psychological concept of flow, a highly focused mental state.[1][2][page needed] He is the Distinguished Professor of Psychology and Management at Claremont Graduate University. He is the former head of the department of psychology at the University of Chicago and of the department of sociology and anthropology at Lake Forest College.[3]
Concentrating on a task is one aspect of flow.
In positive psychology, flow, also known colloquially as being in the zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does, and a resulting loss in one's sense of space and time.
“The best moments in our lives are not the passive, receptive, relaxing times… The best moments usually occur if a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile.”
– Mihaly Csikszentmihalyi
(Here’s a fun trick to remember his name: “Me high? Cheeks send me high!”)
https://positivepsychologyprogram.com/mihaly-csikszentmihalyi-father-of-flow/
After a meeting with Lecturer Gary Macleod:
I questioned him on reference material that would help me understand my photography state better.By this I mean that I have identified 6 levels or elements that I require to 'make' or create a photographic image.
1:No focus ( No reference to reality)
2:A penchant for bright colours
3:A relationship between two shapes generally organic shapes
4:A love of inanimate objects
He first attempted to rule out the idea of taking a picture rather than making it.
My understanding of this is making a photograph is about creating ART and taking is about recording.
He recommended The edge of Vision by Lyle Rexer and Henry Bergson 'Duration'
In his best known work, Creative Evolution (1907), Bergson made it clear that he accepted evolution as a scientifically established fact. He was born the year The Origin of Species was published and Creative Evolution adds a vital missing dimension to Darwinian theory. He believed that the failure to take into account the real time underlying the whole process results in the failure to appreciate the uniqueness of life. Bergson proposed that the evolutionary process should be seen as the expression of an enduring life force (élan vital), that is continually developing. Evolution has at its very heart this life force or vital impulse.
We then went on to discuss Flow the idea of Flow: by
Mihaly Csikszentmihalyi
and
A Tenth of a Second
A HISTORY
86
Publication supported by the Bevington Fund
288 pages | 33 halftones | 6 x 9 | © 2009
In the late fifteenth century, clocks acquired minute hands. A century later, second hands appeared. But it wasn’t until the 1850s that instruments could recognize a tenth of a second, and, once they did, the impact on modern science and society was profound. Revealing the history behind this infinitesimal interval, A Tenth of a Second sheds new light on modernity and illuminates the work of important thinkers of the last two centuries.
Tracing debates about the nature of time, causality, and free will, as well as the introduction of modern technologies—telegraphy, photography, cinematography—Jimena Canales locates the reverberations of this “perceptual moment” throughout culture. Once scientists associated the tenth of a second with the speed of thought, they developed reaction time experiments with lasting implications for experimental psychology, physiology, and optics. Astronomers and physicists struggled to control the profound consequences of results that were a tenth of a second off. And references to the interval were part of a general inquiry into time, consciousness, and sensory experience that involved rethinking the contributions of Descartes and Kant.
Considering its impact on much longer time periods and featuring appearances by Henri Bergson, Walter Benjamin, and Albert Einstein, among others, A Tenth of a Second is ultimately an important contribution to history and a novel perspective on modernity.
MAJOR INPSIRATION:olafur-eliasson
https://www.modernamuseet.se/stockholm/en/exhibitions/olafur-eliasson/
Bill Jay: Snipets from the essay 'So Much for Individuality'
Our cherished individuality is largely an amalgam of a myriad of forces
and influences which, only occasionally, can be sorted, seen and acknowledged.
Much more controllable, and therefore useful, is willful influence. As we are constantly
influenced by the ideas and images of others anyway, perhaps we should make greater
effort to make these influences more overt and direct. Lionel Trilling said: "The
immature artist imitates. Mature artists steal. "
This paragraph is exactly week 2!
The big ideas in my work are the exploration of Flow 'The mesmoric state' and Psychology of creating and producing imagery in an artistic context.
The work splits into two areas
The flow of time in the production phase:the paper,the exposure(the time according to the sun and its intensity),
The making of the work: the placing of the rocks(interrelations of the objects) The space between the rocks and what that represents.Psychoanalysis.The digital recording
Control: the element that which a photographic artist must have at all times in order to create at the highest level. I have recently been interested in the 'successful image' and what that needs to be created.
Gary also mentioned chemegrams....
http://www.vam.ac.uk/content/articles/c/camera-less-photography-techniques/http://www.atlasgallery.com/exhibition/light-works
file:///C:/Users/megan/vanda-shadowcatchers.pdf
Luis Nadeau, Encyclopedia of Printing, Photographic and Photomechanical Processes New Brunswick, NJ (Atelier Luis Nadeau), 1989, and the related website, photoconservation.com
Gordon Baldwin, Looking at Photographs: A Guide to Technical Terms Los Angeles and London (J. Paul Getty Museum in association with the British Museum Press), 1991
