After making the editorial decisions as to which images are going to make it this far, I still have to do final fine art fibre based archival prints. Hopefully, for a first edition of so many prints, leaving it open for ongoing editions. Silver gelatin doesn't work as a limited single edition... everything looks wrong along this path.

And, each following edition of a fine art fibre prints, will have differences. Silver gelatin is too plastic to not allow this.

...and another triptyche I am playing with. Maybe, not sure yet about this idea yet?

...and another possible triptych... undecided, not convinced it works, yet.

...and another triptych

...and another still life

Another couple of still lifes

and here follows an excerpt from the written poetry, from part 2:



There are rumours in the pipeline poison gas
has got away and all emergency services
in divisions, have come to evacuate
bodies and souls from a risk too great
that he is not to be permitted to stay
they come wearing gas masks inside airtight
white plastic suits; he is tied into a mask
and is promptly wheeled out, they broke
through his back door, always the easiest
they tell him across electronic laughs

Two metre thick reinforced concrete walls
up against earth's ancient dry sandstone
ten floors below ground under a building
fifty two levels high, so highly stressed
it will take off like a rocket launched
to space without making a hole; we are told.

He wonders what the book bound poets are saying
on polished hard pine shelves alone in the cold poison night

and alone will they barricade
against looters who enter
broken back door homes?



He needs a cold shower to reset his head, trip-switch needs
of electronic brains making intelligent chatter, human
minds saying little else.



On arrival at the site
mode set indicators go blank
feedback failure in a hole
lost in ground, no earth



Must he say it all again?

Buying power saves consumer's money to an eternal credit card
special price on sale limited time only
buy now tomorrow's already too late

...and here is one landscape triptych; Narrabri Creek.

The brown tone has been done with GIMP to give an idea of what fully selenium toned prints may look like. Aside from photo art book format, also an exhibition of 16X20 inch toned fibre based prints (I got my hands on some relabelled Afga MCC.)

and low res JPEG log still life:

Another low res JPEG scan of daisy still life landscape coming in:

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try again

homepage.ntlworld.com/david.bircumshaw/.../ChrisJones.htm

http://homepage.ntlworld.com/david.bircumshaw/ChideThree/ChrisJones.htm

I have written more part two of Bar-B-Q. It resonates with silver gelatin fully selenium toned images which are to be published in art photo book with verse text with BBQ title. I have changed text from first person to a third person he. This tightens with monochrome images and makes free indirect discourse stronger. Both, image, text, refuse index and assumptions slip away. How dare you assume I am heterosexual.

That bad faith unwitting Aristotle which makes the technology the categorical imperative shrinks media arts to a computer screen. Working with poetry, as written text called the Bar-B-Q and having this resonate with a series of large format still life assemblages and medium format landscape black and white still photography cuts across this limited categorical claim for media arts and as such silver gelatin and a large format monorail view camera are avant-garde.

Two low res scans of 10X8 inch straight proof prints of the 4X5 inch large format still life assemblages:

Quoting Caravaggio

I have just ordered this book. Finding a new art history book to read which I like the sound of.

I have had a concern that there is an unconscious bad faith Aristotelian return to the categories which connects media arts to digital computer based art media to the exclusion of other media such as silver gelatin.

The visual ideas I had for the multimedia poetry script, The Bar-B-Q, transfer easily to large format sliver gelatin. Also to triptych landscape done with the Mamiya C330f TLR and I am looking toward a series of landscape montage for which I acquired a Mamiya RB67 Pro SD. Now cheap cameras thanks to digital in the commercial arena.

Also, the large format monorail photos are also quoting the landscape images in the novel, now with a working title of Swindle: book one. All of this seems to speak against a technological determinist slide back into an Aristotelian notion of categories as being determined by the latest digital media as a definition of media arts and with the authority of a Kantian fine arts excluding silver gelatin from the media arts. So the exclusion of silver gelatin from media arts accomplishes a doubled exclusion which is a media arts return to Aristotle in thrall to representation.

A good faith media arts can only oppose this exclusion. Unless it does so, then it fails as media arts. A proclaimed representation to which the Kantian term mannerism may be equally applied. A failure, sadly, sadly.