absolute deviation poetics

Mottle 33

2011-07-17T02:33:00.000-07:00

above is a photo of the Mottle 33 I have contracted to buy and live in. It is a classic Joe Adams blue water cruiser design. A bit cramped inside but if you go out into the blue waters the external hull strength and sailing ability would be of more use....

BBQ still lifes

2011-03-06T22:20:00.000-08:00

Below are 22 low res jpegs of the still lifes I have chosen for the BBQ book.

I am thinking this is material for a 48 page book, 11 by 11 inches, on matte art paper with the written verse of BBQ on the right hand page and the monochrome still life image on the left hand side page.

This being absolute deviation poetics, without fore-shadow or back-shadow, in the narrative sense, but absolute deviation in the sense that we still do not know what the body of the book will do, I am only guessing that this is it.

... each has a story and many stories, a type of narrative we cannot predict:

Last still life black and white proof

2011-01-11T02:25:00.000-08:00

Below is a low res jpeg of the last still life. Next task is to scan and post the entire 24 still lifes, in the series, so they may be viewed as a complete work.

The last still life

2011-01-10T02:03:00.000-08:00

Below, road kill, the last of the silver gelatins, but this is a P&S digital shot of the set up. The domestic lighting used, when I sat down and looked followed classic tungsten, two side lights and a foot light.

The B&W will follow. Now printing edition prints before shutting down darkroom, late Feb.

Food watch 2

2010-12-17T01:14:00.000-08:00

Some sketches of the partly flooded Narrabri Creek, Dec 2010.

washing archival prints

2010-12-12T01:59:00.000-08:00

To wash the BBQ silver gelatin prints to archival standard instead of paying a high price for a print washer I used the old tried and tested bath tub method. The prints are now drying on home made drying screens in my bathroom; as shown below.

Flood watch Narrabri Creek

2010-12-06T01:49:00.000-08:00

Below are three flood watch photos taken at 5 to 6 PM this evening. This is a swollen creek and not yet a flood

road kill

2010-09-17T23:44:00.000-07:00

I dragged this mud guard from a large interstate transport truck and the squashed witch's hat found on the side of the highway home to my studio for another still life.

The process of mixing colours and painting these found objects produces a disassociated state which is a pain control technique along with the help of opiates and valium. So the colours are mixed and painted in an unconscious way. The forces of these colours chosen as a process which integrates my physical body also forces the compositional elements of the still life; yet again as absolute deviation.

Photos always new

2010-08-30T03:53:00.000-07:00

Somewhere, early in Camera Lucida Barthes says a photo is always new. It was somewhere in the first two dozen pages which lays out the tableau, could we say?

He also says a photo is like a haiku, some pages later.

how much digital scan

2010-08-05T02:21:00.000-07:00

Looking at the actual silver gelatin print and the on monitor digital image
it has been said so often before how much digital screen changes the image

more landscape ideas

2010-08-05T02:06:00.000-07:00

The above two images (of Narrabri Creek and Namio River) seem to move toward the idea of using fabric netting and lace from two different approaches to two different images. The image with the dark bottom right hand side could be used to dodge. I plan to make a sort of matte box like idea spanning across the enlarger bench for the final silver gelatins.

The idea of using my grandmother's crochet seems to suggest the role of what Spivak would call the subaltern, that middle layer which ensures a colonial settler state such as the Australian colony.

Flashing

2010-08-01T00:12:00.000-07:00

In black and white photo printing there is a technique call flashing which exposes the paper to just enough white light to put it on the verge of becoming grey. It was used as a technique to print negatives with a greater contrast range then the paper. However I have also found a longer flash going into a tone which is just grey can work nicely.

I have been thinking of doing this with lace and net so these appear as ghosts in the image. I also thought of using my grandmothers croset doilies....see below

boat ramp

2010-07-27T01:57:00.000-07:00

toward landscape

2010-07-26T02:18:00.000-07:00

another landscape image

selelium toned proof

2010-07-18T00:45:00.000-07:00

I managed to selenium tone the RC (plastic) landscape proof print using a two bath bleach and tone procedure. To explain, plastic RC proof prints will not tone in the way fibre base fine art silver gelatin prints do so they need to be bleached and then toned in selenium (filthy dangerous chemicals.) Below is a jpeg of the toned landscape print. Toning definitely gives the print that extra bit that makes it a classic modernist landscape.

more lansdscape

2010-07-17T02:39:00.000-07:00

I am beginning to think this style of landscape manages to slide in with the still lifes photos. However the low resolution jpeg doesn't seem to work the way the print does. It has also been coloured to attempt a selenium toned look.

Narrabri hobbyist painter I liked and purchased

2010-07-09T03:18:00.000-07:00

Here are jpegs of Tracey Holcombe's two paintings I purchased two weeks ago in Narrabri.

Poppies II

Pink Vase

Still life in production

2010-06-26T01:51:00.000-07:00

this is the camera being set up....

Sunflowers stills

2010-06-26T01:47:00.000-07:00

two more still lifes, this time approximated toning to emulate full selenium toning

human being Deleuze

2010-06-20T00:55:00.000-07:00

Deleuze, that reader and writer on Kant.
His inside out reversal of Kant's a-priori is
a profound humanism. It must be... metaphysical univocal and all

Can it be any other way while avoiding giving anything to the categories
to the correct usage of Kant's faculties?

digital/analog interface with water devining

2010-06-20T00:44:00.000-07:00

I have basically fallen in love with my little Canon A490 point and shoot
digital. (It even has a spot meter which is more then I can say for my heavier and larger in size Gossen Lunapro light meter.)

Underground where I stand, building the latest still life in the series, my wire
divining rod goes right off the dial meaning I am standing on top of the
Namoi River, an underground rhizome river at the bottom of a valley of a
rhizome volcano, known as the Nandewar Volcano.

Analog/digital and a divining rod made from a steel coat hanger cut to the proportions which humans and rhizome water streams resonate.

Deleuze; the absolute idealist

2010-06-14T01:16:00.000-07:00

Recently I have been trying to write this blog in clause chains
rather then traditional sentence paragraph structure

and I received a rather interesting comment along the lines
that this is as if it were thought in production
     with hesitations gaps                and    so    on

I hope to get the real flesh and blood neural body
contra the ideal bodies of Nietzsche and Deleuze
     philosophy's    ideal      always      not         there

Yesterday         I stumbled onto another    naked    body

I am an Aspergers in severe neurological pain

rather then the popular idealist misconception
of Aspergers as being low on affect
that is the ideal body
with limited affect

                  Aspergers is a neurological condition
which in real neural terms is an overloading of distressing affect as if pain is a
brick wall that one is attached to and unable to break from or through

without the use of morphine, which my government denies me
                  as luck would have it
I have enough valium and codeine to get through to words
             and thought

It seems to me here
                the body must break away
                                       from philosophy
                  which itself becomes a brick
       wall denying access to the
real neurological flesh and blood body

In this blog I have been playing analog against digital images
and again Deleuze is mistaken in his logic of aligning
the human body with the analog against
the digital societies of control

Rather, the real flesh,
blood and neural body
           is the interface
                            itself
the real flesh and blood
                         face    the Asperger misreads
not because of lack of physical
                 affect           facial expressions, body languages
and so forth         but because of a neural
overload in the feedback system
which is the flesh and blood body

Deleuze's alignment of the analog with the human
then his mistaken absolute idealism

One dimensional colour

2010-06-13T00:32:00.000-07:00

From one dimension, a flat colour without depth, without width, is made

where to look for this illusion
an illusion that appears as space and depth

I rather like this idea from: http://en.wikipedia.org/wiki/Riemann_surface

In mathematics, particularly in complex analysis, a Riemann surface, first studied by and named after Bernhard Riemann, is a one-dimensional complex manifold. Riemann surfaces can be thought of as "deformed versions" of the complex plane: locally near every point they look like patches of the complex plane, but the global topology can be quite different. For example, they can look like a sphere or a torus or a couple of sheets glued together.

latest still life in production

2010-06-12T00:59:00.000-07:00

Here is a colour digital snap of the latest still life in production
this has been shot 4x5 monochrome on the view camera
I will post that as soon as the proof print is made in my darkroom

More electronic colour

2010-05-29T21:48:00.000-07:00

Digital/analog

2010-05-29T20:10:00.000-07:00

How often have we been told digital is the new freedom

analog the old out of date no longer needed lacking freedom

the exchange of women with electronic code
proof of this digital freedom we all have

an epistemology, declared a closet, store your latest
electronic digital commodity freedom, queer guy
buys a straight man television, encourage

theft to increase market
in between human bodies squashed
flat as electronic colour toward future
behind old analog (we are told)

Freak

2010-05-22T07:11:00.000-07:00

flung at you
a damning insult

       some
                kind of inhuman freak.

a few words; abjection, dejection, freak, eccentric, monster, queer,

painful non reply needed

looking inside double standards
          high intelligence           worth some
of that freak number
                investigated

(Gender, homophobia listed in
scientific journals. homosexual schizoid asperger)

hostile reaction,
freak.

from a generation passed,
                did things a different way
               another monstrosity

Electronic colour

2010-05-18T18:47:00.000-07:00

These images are scans of leaves and twigs from my garden. I used an Epson V30 and played with the software's mechanics. The colour is flat, electronic flat. A new way colour is thought; dated around the 1960s. Also thinking of David Hockney, A bigger splash.

studio desk

2010-05-05T00:16:00.001-07:00

studio wall

2010-05-04T22:49:00.000-07:00

a book BBQ

2010-05-04T21:49:00.000-07:00

The photos, the silver gelatin
on a studio wall

make a book (D&G could say)

Dupuytren's contracture

with electronic noise

silver

2010-05-04T21:25:00.000-07:00

and fight my cat for keyboard words

with silver
prints a sort of depth that you can fall into like

alice in wonderland.
when the penny drops in the strict
sense, b&w film not analog. While digital is
obviously
digital,
in the strict sense it is not so
How little we
know about a human eye; digital teaching.

it is the flatness of electronic images which attract
so obviously digital/electronic.

I have 15 minutes formal instruction in film

homophobic structure

2010-05-04T02:58:00.000-07:00

In quoting this section of the earlier quote; in Sedgwick's analysis, one could say this is the homophobia of new media advertising. Technology as the body of women which is new media exchange. Which is to say, homophobia.

[quoted from below] it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her)

The Figural as Interface in Film and the New Media:

2010-05-03T23:56:00.000-07:00

From:
Film-Philosophy
Journal | Salon | Portal (ISSN 1466-4615)
Vol. 7 No. 56, December 2003
Warwick Mules
The Figural as Interface in Film and the New Media:
D. N. Rodowick's _Reading the Figural_

Advertising captures what might otherwise have been a radical aesthesis of the body within emerging virtual communities outside the range of capital, and refashions it in answer to the desire of the individual consuming self in terms of a total experience, where distances in time and space are collapsed, and everything magically appears at the command of the consumer. [5] New media advertising does not sell products, it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her). To counteract the power of capital to capture the figural, Rodowick calls for 'a critical philosophy of technology to unlock its historical image and to make legible the strategies of resistance and lines of flight that are created within it' (223).

snakes at the billabong

2010-04-16T02:38:00.000-07:00

the billabong seems a perfect snake place
no sooner I thought as an eastern brown
the second most dangerous snake
passed me by with it's musky odour

on my second return, trod almost on a red belly black
it slithered away from me as I fled at an obtuse angle
to it's vector sine wave mapping of the landscape
a distinct fishy smell, that's how I knew

darkroom photos

2010-04-16T01:56:00.000-07:00

the beginning, enlarger bench built from recycled cypress pine

and finished, walls and ceiling made from 3mm mdf

and studio space in front

and darkroom wet bench now in use

and the two enlargers on enlarging bench, and I built all this myself

(miracles do happen)

more at Lagoon Creek

2010-04-13T00:20:00.000-07:00

two more sketches which demonstrates the process of sketching
which go toward camera film and location and to
get inside the image making process

Delta 100 meter read at 100 ISO
developed in Perceptol 1+3 at 50 ISO (16mins at 20 C)
this is the response I was looking for

this looks like it would make a nice vertical diptych
also works as a horizontal diptych

first fire

2010-04-12T00:32:00.000-07:00

first fire of the season
snow on the alps [above]

below, Mamiya RB67 ProSD, 127mm KL lens, on tripod in the field.

high contrast billabong photo

2010-04-11T02:42:00.000-07:00

Ilford Delta 100 seems to demonstrate itself as a high contrast film. I am over exposing by a stop, it appears and despite attempts at a gentle development in 1+50 Rodinal. Tomorrow Ilford's ID11 should arrive. I think I like 1+3 ID11 for Delta 100. Perhaps rated at 50 ASA for ID11 and 100 for meter?

US Romantic and Realist landscape painting

2010-04-11T01:48:00.000-07:00

The two major aspects of landscape painting could be said to be trees and water, sky and clouds as an extra third option. See; United States Romantic and realist landscape paintings below. It is not such a large leap to imagine Ansel Adams' photography quoting these landscape views and compositional style, which is to say, Romantic landscape painting.

Frederic Edwin Church, Niagara, 1857; and Albert Bierstadt, Among the Sierra Nevada Mountains in California, 1868; images quoted from: A World History of Art Revised 7th edition, 2009, Laurence King Publishing. pp 675, 676

more landscape ideas

2010-04-10T00:33:00.000-07:00

with a theme, trees and water, isn't this the major theme of landscape

Creek crossing landscape

2010-04-05T23:16:00.000-07:00

two landscape sketches getting toward an idea of landscape as becoming and so in between not in the spatial sense but as in between is becoming

Deleuze says too much movement botches becoming so it seems that to get landscape ideas happening a repeated return to the creek and river
here, a gravel beach for crossing,

trees and water, that seems the idea, colonial deconstruction

an idea in between critical
there is a suggested photogram mesh, such as fly screen, which can be added to the images as a sort of literal grid which is nevertheless twisted; not straight

a diptych is suggested

wrecked police

2010-04-05T01:44:00.000-07:00

wrecked boat evidence in court; says young man
with glock 9mm on his right hip, so hand-
some blue uniform, very big, very big
not a good way to start a house dog
habitation; so much effort needed
for a dress rehearsal

more codeine

2010-04-05T00:54:00.000-07:00

codeine needs pain, the pain is here

a failure of contract
not enough opioid

pain remains, will sleep excuse

distant pathos haptic II

2010-04-05T00:20:00.000-07:00

how to treat a horizon
silver rich black and white film

clutter just out of focus
on an anticipated horizon line
makes distance reached
through a haptic stretch

the clutter of human remnant images
quantum neutron bomb leaves
property safe without human

close haptic vision felt with hand eyes
draw in close distant horizon pathos
on absolute distant pathos horizon
a pathos of distant absolute on which

[this could be said; affects densely neural
fire, sad nostalgia still distress, a pill
needed here to save leftover health
and nostalgic good feeling

after event nostalgic fancy
looks with a smile]

toward a distant pathos

2010-04-05T00:10:00.000-07:00

i am thinking of Peter's "How the poem is born IV" (see link below)

digital image manipulation and blurred out of focus back ground section seems a way to approach pathos of different and distant with a haptic vision

OK, call this one visual solution

Peter Ciccariello

2010-03-31T16:20:00.000-07:00

A very nice haptic landscape, here.

Mark Fisher, Alice in wonderland

2010-03-29T18:37:00.000-07:00

In the Alice books, there is the feeling that Wonderland is Alice's world alone, yet she has no place in it. She is always late, in the way, misunderstanding what ought to be obvious ... In this way, Carroll is the precursor of Kafka, and ultimately Alice's Adventures In Wonderland has far more in common with The Trial and The Castle than with The Lion, The Witch and The Wardrobe or The Wizard of Oz.
Quote from Mark Fisher k-punk

Mark Fisher's PhD thesis on Gothic Materialism has been and continues to be important to my thinking and practice and thank him for this. His latest book, CAPITALIST REALISM is on my want to read list.

cameras

2010-03-29T17:31:00.000-07:00

the idea of posting the camera images and text is intended to look at the relation between media and art as a media arts aesthetics but interruptions... more later

merger of aesthetic and technical planes (ala D&G what is art)

Woman on a Shaky Bridge

2010-03-28T21:00:00.000-07:00

Received this 20 or so page chapbook by Millicent Borges Accardi a few days ago. Have done the quick first skim read and this looks a very nice chapbook. Small chapbooks by women poets, I am going say, are with the most important poetry published since the late 1970s, at least on what I have read.

I would very much like to take the time for a slower more relaxed read and hopefully, can say more. For now; check it out....

http://www.amazon.com/Woman-Bridge-Millicent-Borges-Accardi/dp/1599245523/ref=pd_rhf_p_t_1

camera myth

2010-03-27T18:30:00.000-07:00

There is a myth with amateur and hobbyist photographers that good, meaning professional photographers, can make a good image with any sort of camera. Digital, film, point and shoot, a good photographer can do a good photograph.

I said a myth. It isn't true. Professional photographers, as myself, use a limited range of cameras and if we used another sort we didn't know would produce an image even worse then totally untrained. I only know how to use a small range. Same goes for film. Outside this, make crap image.

The main three cameras below are what I use, currently. (Ignoring video, super 8 and 35mm. But that makes only six, oops, seven, forgot the ps digital.)

mamiya c330f tlr

2010-03-27T17:17:00.000-07:00

This is what my Mamiya C330f twin lens reflex looks like, used this for landscape triptych

images from: http://en.wikipedia.org/wiki/Mamiya_C330

It has interchangeable lenses and the lenses are famous for the sort of muted, perhaps low contrast, but then that is wrong way to say, lenses which are, well, some of the sharpest lenses out of Japan. They need a lens hood if flare is a problem. Very different to obviously more hard saturated contrasty Mamiya RB67 TL lenses or the 4X5 Schneider lenses I use. The previous Mamiya TLR body to the above I use is a C33, which I dropped onto concrete and broke the left focus knob off. I put a roll of film through it, Efke 25, it still works, sharp as ever. Diane Arbus used a C33 and Efke 25 film and you can see the contrasty nature of her portraits which she found a bit of a problem. I develop Efke 25 in Rodinal 1+100 for 18 minutes at 20 C and this pulls the contrast in and uses the full range of this silver rich Adox formula. Arbus didn't have this option.

4X5 monorail

2010-03-27T16:47:00.000-07:00

This is what I do the still lifes with. If a need be for large format film and movements, also for landscape and field (outside studio)

image from http://www.jafaphotography.com/calumet_45n.htm

4x5 inch monorail camera. It is a very basic monorail and unlike the 100 or more pages of instructions for my point and shoot digital, don't have a manual, that I know of, at least.

The lens goes on one end and the ground glass, which you compose with and then insert a film holder into, on the other end. It twists and bends.

See http://www.largeformatphotography.info/roundup4x5.html

from above: Calumet 45N. The proven Calumet camera is a fully-featured monorail, with a bare-bones design. It can be folded for transport, and is upgradable with Calumet accessories. heavy (8lbs).

RB 67 ProSD

2010-03-27T15:41:00.000-07:00

For those curious this what my Mamiya RB67 ProSD with 127mm KL lens, looks like. This has a 6cm by 7cm negative size on 120 roll film and is the camera I am using for landscape series. I am using low speed film, Eke 25 and Ilford Pan F. Also Ilford Delta 100. (jpeg from the mamiya website-- http://www.mamiya.com/rb67-pro-sd.html)

p&s digital

2010-03-27T15:35:00.000-07:00

A photo of my left hand holding camera in right hand. I went out and purchased a cheap point and shoot digital, Canon PowerShot A490. Very impressive, glad I waited for it. A great deal of control available and with auto being quite good enough. P mode gives a fair range. Change light reading from centre weighted to centre spot, hence can deliberately burn highlights out or reverse and can do with autofocus to selectively focus; ISO can be set, video and mono sound. (Yes, that is Dupuytren's contracture; my affinity with Beckett.)

new media arts

2010-03-24T16:41:00.000-07:00

arts media novel with macintosh se20 still life.

linking stills for the series

2010-03-06T23:41:00.000-08:00

...... am in so much pain and being denied opiate pain relief by the Australian government, thanks to bureaucracy but still determined enough to continue with this project and post two more still lifes. These seem to me weaker linking photos in the series. I could take my government to the world court for denial of human rights, but this means being pain free enough to do so.

2010-02-17T00:50:00.000-08:00

and another still life, this makes 24

colour of gum leaves

2010-02-11T22:31:00.000-08:00

After a suggestion, I scanned three gum leaves and used the eye dropper colour selector. Computer colour is flat colour, that would date Photoshop as 1960's. This dates significant changes in the way we understand and think colour, that is to say as flat colour. Acrylics, for example.

landscape

2010-02-11T22:18:00.000-08:00

What can be done, every exposure is a cliche.

2010-02-10T23:36:00.001-08:00

The last still life? Well, I was wrong, more to come.

2010-02-02T23:04:00.001-08:00

and another still

more stills

2010-02-02T22:57:00.000-08:00

another still life

2010-01-30T22:23:00.001-08:00

another reflection landscape sketch

2010-01-26T22:49:00.000-08:00

2010-01-25T00:58:00.000-08:00

I like the idea of using this blog as a sketch book, BTW. It suits the blog genre.

2010-01-25T00:51:00.000-08:00

I have started sketching the landscape series. The idea is to do the landscape in a series of ponds of water after rain or any other bodies of water I happen to find around here. I threw a couple of rolls through my RB67 and into the developing chemicals. It being too hot here the negs are not able to be used due to what happens when hot film hits cool chemicals, but I get the idea.

Two scans of proofs are posted here. I also ordered a ND and orange filter and Lee filter holder for the RB67 and the 127mm KL lens, which I do like the look of, so far.

2010-01-22T23:43:00.000-08:00

I am hoping this is the last of the still lifes

Hopefully I can move onto the landscape ideas next

and I am ignoring all the printing of final fibre base prints, which right now sounds like too much.

2010-01-09T20:52:00.000-08:00

Looking at the two variations, photos of the original model with a changed upper half, it seems that one cannot say a photograph is a copy of the model. Too much separates the image from the model. The image is itself, not a copy, what could this say of immanent critique which is seemingly grounded by mimesis?

2010-01-09T20:43:00.000-08:00

Having made it this far, using this blog as a sketch book or a documentation of work in progress, I should do something about posting smaller uniform sized jpegs.

2010-01-09T20:33:00.000-08:00

This is the first or a variation from the one below. I like both. This introduces a closer variation to the still life series that needs more thought. This looks like a small cave or grotto which is also an image I use toward the beginning of the novel, Swindle book one, which I have yet to finish revising. The cross over looks completely different, of course.

New scanner

2010-01-09T02:05:00.000-08:00

I went out and got a new scanner so can repost the last two JPEG scans:

2009-12-21T22:50:00.000-08:00

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.

2009-12-21T22:48:00.000-08:00

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

2009-12-21T21:35:00.000-08:00

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

2009-12-21T21:09:00.000-08:00

...and another triptych

2009-12-15T20:48:00.001-08:00

...and another still life

2009-12-15T20:19:00.001-08:00

Another couple of still lifes

2009-12-14T23:12:00.000-08:00

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

2009-12-14T23:03:00.000-08:00

...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.)

2009-12-14T22:47:00.000-08:00

and low res JPEG log still life:

2009-12-14T22:39:00.000-08:00

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

2009-12-14T22:35:00.000-08:00

That url seems wrong...

try again

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

2009-12-14T22:24:00.000-08:00

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.

2009-12-14T22:07:00.000-08:00

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

2009-12-13T00:35:00.000-08:00

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.

2009-11-09T23:21:00.000-08:00

I have gone back to silver gelatin photography and as an avant-garde poetics and aesthetics... absolute deviation poetics is also aesthetics. More later...