.
Thursday, 13 December 2012
Sunday, 9 December 2012
Tuesday, 4 December 2012
Semiotics Of Photography: O
O is for Ornery (Obstructive, Offensive, Obtuse)
Not unlike the scenario that unfolded the day our colleagues moved office:
So, the tables were turned
The chairs upside down;
The occasion?
Invasion.
Comm-Phot boys
Just hit town.
Would be wrong;
Deceitful,
To say all previously well.
To suggest the office
A haven.
In fact, it was hell.
If hell is too strong
Then, perhaps, purgatory.
But in no time at all
We were marking our territory.
Pissing on table legs,
Obstructing the doors.
(A note to Estates:
Please remove carpets from floors.
Clearly, unhygienic.)
So, it remains to be seen:
The lay of the land.
Now Comm-Photo are with us,
They may take a stand.
They may take offence
At the current regime.
Or we may stand united
An invincible team.
Sunday, 2 December 2012
Semiotics Of Photography: N
N is for Nostalgia
Nostalgic spectacle:
A rosy hue.
Try turning back;
Horizon is blue.
Black and blue.
Always the longing
Wanting belonging.
But taken unforgiving,
To a place I had to go.
Damn, no
A gambler, performer
With an eye for a show.
Nostalgic spectacle:
A rosy hue.
Try turning back;
Horizon is blue.
Black and blue.
Always the longing
Wanting belonging.
But taken unforgiving,
To a place I had to go.
Damn, no
A gambler, performer
With an eye for a show.
Friday, 30 November 2012
Semiotics Of Photography: M
M is for Moon
Since the beginnings of photography photographers have photographed the moon; photographed at night and by moonlight.
Man on the moon.
Dark side of the moon.
Moonstruck
Blue moon.
(Athens, Georgia, 2002)
Since the beginnings of photography photographers have photographed the moon; photographed at night and by moonlight.
Man on the moon.
Dark side of the moon.
Moonstruck
Blue moon.
(Athens, Georgia, 2002)
Tuesday, 27 November 2012
Semiotics Of Photography: L
L is for (The Camera Never) Lies
They say the camera never lies, so to whom do we attribute this sleight of hand?
Photographer or subject?
They say the camera never lies, so to whom do we attribute this sleight of hand?
Photographer or subject?
Friday, 23 November 2012
Semiotics Of Photography: K
K is for Klein (Yves Klein's Leap into the Void, 1960)
A leap into the void.
A year later - the year before he died - Klein masterminded another brilliant stunt: Blue Monochrome (1961).
According to the MoMA website (http://www.moma.org/collection/object.php?object_id=80103) 'Klein likened monochrome painting to an 'open window to freedom'. He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.'
Blue: the hue of freedom and immateriality. Rebecca Solnit is Klein's true successor with her beautiful philosophical memoir A Field Guide To Getting Lost (2005).
From her chapter, 'The Blue of Distance':
'For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of emotion, the color of solitude and desire, the color of there seen from here, the color of where you are not. The color of where you can never go. For the blue is not in the place those miles away at the horizon, but in the atmospheric distance between you and the mountains.' (pp29-30)
A leap into the void.
A year later - the year before he died - Klein masterminded another brilliant stunt: Blue Monochrome (1961).
According to the MoMA website (http://www.moma.org/collection/object.php?object_id=80103) 'Klein likened monochrome painting to an 'open window to freedom'. He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.'
Blue: the hue of freedom and immateriality. Rebecca Solnit is Klein's true successor with her beautiful philosophical memoir A Field Guide To Getting Lost (2005).
From her chapter, 'The Blue of Distance':
'For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of emotion, the color of solitude and desire, the color of there seen from here, the color of where you are not. The color of where you can never go. For the blue is not in the place those miles away at the horizon, but in the atmospheric distance between you and the mountains.' (pp29-30)
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