(not) on exhibition prints
Brian Appel interview with Richard Prince. Not sure when it was done, but it wasn't too long ago, because Prince references preparing for the Guggenheim show.
via anaba
Black hole
Copyright 2008 Ron Diorio
Courtesy of Peter Hay Halpert Fine Art
A letter to Aphotoeditor
Rob
Very interesting thread.
I agree that the right marketing materials are needed for the segment you are looking to get work in, as in Rome, well you know the saying …. I think from the reaction here this is experiment you are running is something that “pros” feel for most part valuable and certainly they respect your leadership.
However, I get the feeling in this line “It’s not that difficult to see why I would think you’re an amateur if you put your images on Flickr. That’s what it was created for and that’s who primarily uses it.” that you may be missing something of value. I would argue that by focusing on the “amateurs” and not the audience we will be overlooking a valuable and sustainable marketing opportunity. You own an audience.
This audience of “amateurs” are the same people who consume a photographer’s images in mass magazines. They are the audience. They are the consumers. The photo editors are gate keepers and curators. They are powerful filters but they are not in the case of mass magazines the audience. By perpetuating the stigma, we are keeping photographers from an audience, from the audience.
I think by not encouraging some kind of long term involvement in a photographer’s body of work that a site like Flickr can offer through the mass audience platform it provides, we diminish a fantastic opportunity to connect with the very people who consume the photographs. I am not sure if magazines can make it happen themselves they have a vested interest in their brand - not in establishing a long term connection with broadest possible audience and enhancing the value of the photographer as recognizable.
By dismissing the vernacular aesthetic of Flickr with the audience we dismiss “the audience”. I think photographers coming into the business over the next few years will have this in their DNA. A few top tier photographer’s will have other methods of direct to audience marketing. The more intimate an audience is with a photographer, the more valuable the photographer becomes to the properties that hire them.
I am not an editorial photographer but have learned much form the readers contribution here over the last few months. Thanks for this valuable resource.
"Diversity of Devotion," a photo documentation of spiritual practices in the five boroughs of New York City is now showing at the Grand Army Plaza branch of the Brooklyn Public Library. The exhibit runs till April 19.
An opening reception will be held Tuesday, February 5th, from 7:30 - 9pm.
Made up of 65 images from 36 photographers depicting 27 spiritual and religious beliefs, the exhibit includes familiar religions as well as those which are lesser-known, such as Voodou, Zoroastrianism, Sikh, Falun Gong, Wicca, Santeria and Rastafari.
"The project’s goal is to remind both artists and audiences how fortunate we are to live in a city where myriad beliefs coexist in peace, and celebrate the unique and beautiful found within each," says curator Jenny Jozwiak.
More information at the library's web page.
Congratulations, Jenny!
From 5B4
Photography for me is a medium that seems to propel along like a car that is perpetually running out of gas. In fits and starts, surges of energy and inertia, I will have a year where I am one and Zen-like with the world and then the next year I am out of sync like someone who has spent all of their karmic savings in one moment. This is a year when I am out of sync.This is not a phenomena that is entirely my own. If you look through any artist’s work you will see good and bad years of production. For photographers who venture out into the street in which to mediate their experiences, a bad year may mean always being one step away from where you think you need to be standing before your prey decides they need a Starbucks and betrays your intuitive moment. These difficulties in navigating the world compounded by its non-cooperation with your needs as an artist is the simplest explanation as to why there are not many photographers still working in that manner. Revelation requires spending lots of shoe leather and depending on how big the revelation, possibly even knee surgery.
I read John Haber's "Learning to love photography" with some interest as you know I am about to open my first solo show here in NY at Peter Hay Halpert Fine Art. My work has benefited in the the digital space as I have spent the last four years evolving a body of work in public on Fotolog and Flickr.
No MFA, no commercial work, no editorial work just the time and space to work through awkwardness of the movement from technique to craft to style. Making this journey doubly interesting is that in my day job I have been able advocate reader participation and contribution rather than comment and rant because of my experience.
In the article there is a reference to the Hollywood "indies". This got me thinking. What makes sense to me in that the audience gathering power of blogs and social networks has allowed an artist like myself to develop a value far beyond what could have been done even 7 years ago. Not sure that is exactly what John meant but I think that this builds on the notion of an outside the system. I am not sure if I am the first photo artist to move from Flickr to a one man show in Chelsea, I know I won't be the last.
And that is a good thing.
A photograph is a slippery and unstable idea — it never has only one meaning. In capturing the face of a loved one, it's a hedge against loss. As a document or a formal record, it's dependent on the political, economic and propagandist impulses of the photographer. It can provide evidence of what has been — if we understand the various institutions from which it emerges.
DANA SELF
A Long View
As part of the exhibition we will be publishing a number related items in audio, video as well as publishing a catalogue and e-book:
Here is an audio download of Mysteries of the glance written by Norman Taylor and recorded by Talking Issues in Bath UK.
Click to listen or right click to download
http://www.rondiorio.com/mysteries_of_the_glance.mp3
"Around here" an exhibition by NY photo artist Ron Diorio opens January 10th 2008 at Peter Hay Halpert Fine Art with an artist reception to celebrate the publication of Diorio's first book "Around here and other work".
Diorio's work sits between memory and premonition. Bill Hunt wrote in 2005 that "The abstracted dreamlike nature of Ron Diorio's stylish studies is subdued and engaging. This is work that lingers in my memory."
The exhibition runs January 10 - February 23, 2008.
Peter Hay Halpert Fine Art, NYC
511 West 25th Street
Gallery 306
NY NY 10001
(646) 827 9890
http://www.phhfineart.com/
phh@phhfineart.com
At a few years short of 50 and with my first solo NY show just a couple of weeks away I feel fortunate to live a creative life. Opportunity and reward do not come without risk. I am not sure what is the greater risk, to be ignored, to be forgotten or to never have tried. Since I can control just one of those, I can only risk the other two in public. We’ll see how comfortable I am in in my own skin later in the year.
Happy New Year
Ron Diorio
Around Here
10 January - 23 February 2008
Artist Reception 10 January 6 PM - 8 PM
Peter Hay Halpert Fine Art
511 West 25th Street
Suite 306
NY NY 10001
Old haunt
World Aids Day
"People want all sorts of things from their neighbourhood. As the urban iconoclast Jane Jacobs said, they want the untidiness that comes with having houses close to workplaces, shops next to flats, and rich next to poor. They also want a balance between privacy and the opportunity of chance, or planned, encounter."
From A special report on Cities
The world goes to town
After this year the majority of people will live in cities. Human history will ever more emphatically become urban history, says John Grimond
Edge of night
Truck stop
Daylight savings time
I make photographs. Photographs of ordinary things: people, places, things. These images walk the line between reality and fiction, memory and premonition and the ambiguities of vision. An obvious process of translating is happening. My sense of imagery: form, color, framing the perception of light. The workflow: translation, abstraction and interpretation. Paintings are akin to the way I make photographs. They aren't really paintings, they're pixels in which an image appears. It is precisely their inherent element of loss and possible failure that I value.Photography appropriates the world. I present an imagined context. Ambiguity and anxiety from outside the border of the image is an editing choice. Photographers want to be something else - a witness, too often a witness that can't be cross examined. If anything I am trying to explore the lies we tell oursleves. Or at least the lies I tell myself. I will tell my own stories. I am not interested in telling the story of others.
A little late
Luc Tuymans in ModernPainter
"Photographs are akin to the way I paint. They aren't really photographs; they're liquid in which an image appears. It's precisely their inherent element of loss and possible failure that I value."- Luc Tuymans
"Paintings are akin to the way I make photographs. They aren't really paintings, they're pixels in which an image appears. It is precisely their inherent element of loss and possible failure that I value."- Ron Diorio
Trying to explain my work ...
An obvious process of translating is happening. My sense of imagery: form, color, framing the perception of light. The workflow: translation, abstraction and interpretation.
I make photographs. Photographs of ordinary things: people, places, things. These images walk the line between reality and fiction, memory and premonition and the ambiguities of vision.
If you are in NY over the next few week here are 3 outer borough shows to see:
“Diversity of Devotion”
Curated by Jenny Jozwiak
Safe T Gallery through September 23
Topos: Brooklyn
featuring work by Tim Conner
Nelson Hancock Gallery opens September 13
Sun Pictures to MegaPixels:
September 29 to November 4, 2007
Williamsburg Art & Historical Center
I have two photographs in this show.
Discovery. Looking at the image and putting it together again in the rendering: seen - remembered - imagined.
Less direct but more comprehensive, a question of imaginative vision.
A view of the visible, prolonging a moment - neither geometric or photographic.
Orgainized seeing: a personal deformity of vision.
"African futurist" on Flickr once observed that I "liked people, but not that much. People lost in space.' I think that is a very valid statement that underlies my approach.
My approach is primarily about low resolution image harvests generating photo references. It is not about mega-pixels although it very much about the pixel. It has to do with how the images come out and the way I interact or or more correctly don't interact with the people in the pictures. It is a slow process, harvesting these images and then looking again (and again) at them over time on the screen.
This process separates me from the subjects. The first time I am really looking at the capture is on the computer screen. That can can be days, weeks, months or more after taking them. I am in a different place literally and figuratively. It allows my imagination to work more freely on the reality of what was captured. So there is this distance. A distance of time. A distance of space. These are images of images of that space, that distance. The space between me and the world.
When I begin working on these, really seeing what's there - the subject is no longer there. However on the screen they glow and take on a life - so part of the transformation is that the subject becomes an object. The representative becomes representational.
The look of the result isn't in the detail or sharpness any more. It is in the actual viewing experience on screen. And seeing transformed and and go from 640 x 480 to a 19" screen, you can take in the whole scene - all jewel like and glowing.
So the use of photography is different. It is not the decisive moment frozen. It is a more measured purposeful encounter - the creation of the physical object. This is what I consider to be the "art". The screen image or the photographic print is the object, the document of my process where the image becomes an image of itself. An event takes place but the viewer doesn't experience that. They experience the idea of that. And ideally the viewer will have an experience where they will respond to the pictures - think about their own memories, perceptions and premonitions.
What I love is this process that you can go outside right now and capture something and then transform and present them as an idea, my imagination of the experience rather than the experience itself. There is alot of imagination in reality. You just have to look for it.
Currently editing two bodies of work
"A conjurer's New York"
Jan Morris in her book Manhattan '45 observed that Manhattan seems to reinvent itself every dozen or so years. With very fewer and fewer permanent reference points our memories become fictionalized and the fictions of the screen become fact. I think that has made it easier for me to mock the documentary veracity of photography
in my work. New York isn't that real. "A conjurer's New York" is a New York where every image has two sides. First of course is the the traceof what once was or what maybe never was. The other is the image that can transform reality to what can be imagined, dreamed or conjured.
These photographs come in an edition of 8. Prints will be 20 x 30/Digital C.
"Fool's Noir: A photographic imagination"
In "Fool's Noir: A photographic imagination" manipulated and exaggerated images become objects filled with the presence of uneasy memories. "Fool's Noir" like literary or film noir is characterized by "dreamlike, strange,
erotic, ambivalent, and cruel "elements in varying doses. Distilling the complex visions of everyday life to its formal, emotional core we see people almost without faces. Things that we see clearly from a distance, are a mystery at a closer inspection. In losing the detail we sharpen clarity. I guess you could say I like people but I don't worship them. People lost in space. "Fool's Noir" is about those people.
These photographs come in an edition of 8. Prints will be 20 x 30/Digital C.
Every image has two sides. First of course is the the trace of what once was or what maybe never was. The image can transform reality to what can be imagined, dreamed or conjured.
Jan Morris in her book Manhattan '45 observed that Manhattan seems to reinvent itself every dozen or so years. With very few permanent reference points our memories become fictionalized and the fictions of the screen become fact. I think that has made it easier for me to mock the documentary veracity of photography in my work. NY isn't that real.
I think that there is a quality of incompleteness in my images that to me gives them a sense of spontaniety. I know that the original capture is not my final word on the subject so I am willing to take chances when shooting. They are not technically perfect or well composed at capture. These captures are a cue to recall visually from my own emotional recollections something that can't be known only from what is photographed.
Two upcoming Group Shows:
Griffin Museum of Photography
13th Juried Exhibition
Juror – Brian Clamp of Clampart, NY
August 23 through October 28, 2007
Sun Pictures to MegaPixels:
Archaic Process & Digital Process
Williamsburg Art & Historical Center
September 29 to November 4, 2007
Opening 4–6pm Saturday, Sept. 29
from LA Times
For as long as photographs have been made, they've been doctored, enhanced, manipulated and altered. These recent variants don't take us "beyond" the medium or the image, but in the best cases, more deeply into the wonderfully ambiguous nature of representation.
Form Conscientious
the kind of stuff you'd expect from a toddler who has just entered the phase where he or she is saying "dirty" words to get reactions out of people and for some reason knows how to take photos.
Descent
Copyright 2007 Ron Diorio
From Crazy Love
“My New York is a small place,” he said. “It’s not Fifth Avenue. It’s not the Thanksgiving Day Parade. It’s people in gray, and it’s working class people. It’s a different New York, and it always was. ”
From Notes from nowhere
Having spent a considerable part of my life in editing, both photography and text, I do believe in the grueling necessity of it. This obviously includes my own photography. The editing may be even more important than taking the images in the first place. I am convinced that no matter how good you may be, if you choose the wrong images, the result will be mediocre at best. Hence, although I have edited roughly two million images of other people over the past ten years, I don’t ever do the final edit of my own work - you just can’t edit your own images with a 100 percent success rate. But you can choose people who are good at it (and avoid those who are not).
I am looking for a an editor to work with, so if you are out there .... call home
Mindy McAdams reports on an interview with Rob Finch of A photo a day and she quotes him:
There are two specific camps of people in our still picture world. There are people who love photography and there are people who love to tell stories. People who love photography only for the act of photography might have some trouble in the future assuming they want to work at a media outlet.
I think that photography by its own nature is very "elastic" in practice. For image driven news media that elastcity is an opportunity to diversify the use of photography. The challenge is being very transparent about what is illustrative and what is documentary.
I contributed this to a conversationon on Art & Perception
My old Nikon FM collects dust on my dresser becuase the digital darkroom transformed what I had come to know as photography. It moved me from picture taking to image making. Now the only real "photographic" moment is the end stage of the manufacturing process when a Digital C-print is pulled. For me it has been important to have the "photographic" in the making of the object while disregarding the "photographic" in the image making process. So in a traditional sense, for me, there's not much photography in my process to enjoy.
What I do enjoy is where image making intersects with storytelling - you frame the world - frame a point of view. In some ways "view finder" better describes what it is. The really emancipating thing has been to find/seek/uncover the authentic - the essence of the emotional connection in the image without the "view" being my truth or something close to me. I'm always chasing that both in my own work and when I'm looking at other's work.
When I first posted on Fotolog in June 2003, I called my page "A photographic imagination". I had just read Sontag's On Photography and I wanted to put a marker down that these images should not be viewed as documents - they were manipulated and as such the images were not representative but representational.
I was also beginning to undestand how pixel based display was a great democratizer - all these screen images were made of the same substance. A Picasso painting, a DaVinci drawing, a deep space image form the Hubble Telescope or an Ansel Adams photograph were certainly different objects in the real world but on the screen they were just a collection of pixels. The playing field was leveled, the image content would be judged on it's own aesthetic and against every other image that could be displayed. The eye would decide.
From the start I wanted to give people something to think about - but not as a message or a lesson or a meaning. I think I lacked the confidence to articulate that early on. But it is there like the manipulation is as part of my whole apporach. I want the viewer active to "look into the image" rather than just looking at the image.
I am not an equipment geek. If the device captures images without a flash, has a memory card I can read and a charged battery I'd probably use it. I don't need a perfect capture, I want to make a capture perfect. I need raw materials so I "harvest" images, hundreds per day. I'll capture till I drain my battery. I hardly look at the LCD when I am shooting, I try never to stop moving. I capture everything at. low res 640 x 480. I have lost any connection to the preciousness of any individual snap.
I use Flickr to post my images because it is a distribution point and provides a publication platform and an audience. I want an audience. Of course this serves two masters because I can move easliy from presenter to an audience to being part of the audience.
At the point where I was searching for a way of working - first Fotolog and then Flickr gave me a daily production and publishing structure and a format to see a body of work developing.
It allows me to be prolific without purpose and organically find threads in the work. The dark side is that there is such a need to get the next image - almost an obligation. I realize this is a product of my own need for immediate gratification. I tend to ration the published images to one per day. The sheer volume of images posted on both of these services is a stark reminder of how insignificant any single image can be. It is quite intimidating.
I am always surprised by what people connect to in an individual image, what they are moved by. I am starting to sense a bond. It is not that I said something nice about their picture or made them a contact so they say something nice about mine. There is something we have in common, something they know and I know.
In the end to me photography is like sex, the intersection of what interests you and what you can get. This is what I can get.
Wishing you peace of mind in 2007.
From me, a long delayed group show in Williamsburg in Brooklyn seems back on track as well as some early interest to show some work in London and LA.
I am hoping to add a few new regular things:
More images
Audio interviews
Video slideshows
Maybe play to the system ...
John Szarkowski on playing the gallery system
So that’s the big change. Now you go to schools like Yale and — [the students] would deny it, but they’re lying — their real ambition is to be stars in the gallery system. And I wouldn’t want those young people to know this, but there is actually a substantial market for new people doing something that might look flashy for a moment, because of the fact that there are, you know, a million new billionaires in this country, and they or their wives want to be on the boards of museums. And you can’t collect Jasper Johns anymore. I mean, forget collecting Matisse or Picasso. You can’t collect Rauschenberg or those people — all the good stuff is already in captivity! So you’ve got to find a new guy.
"there's a new kid in town..."
In one of Time's features on "You" they write:
Even more than blogs or video-sharing sites, Flickr has the power to forge international bonds because it works in an entirely nonverbal medium.
They mention two Flickr users Ali Khurshid and Lavannya Goradia but don't provide links to their work. How lame is that!
Francesca Woodman's haunting vision
Francesca Woodman explored the ephemeral realm between what is/isn'tWoodman probed the nature of photography and its uneasy relationship with reality. She relentlessly explored what Townsend calls the "spatial and temporal mismatches" between image and object.
She wanted to evoke the elusive, transient realm between what is and isn't, constantly depicting herself as a kind of specter, disappearing into or emerging from floors and walls, depending on the viewer's perception.
On of my favorite's. She seems to capture the "duration of time" in every frame. An uneasy yet formal approach.
The revolution's question is Amateur v. Professional where are the boundaries, what makes it so and does it matter.
In Amateur v. Professional Coxsoft art writes:
Many people find art an agreeable hobby and produce good quality work. And there are many professional artists who make a living selling junk: rusty bicycle parts cobbled together as a "profound statement" on our throwaway society! So what makes the difference between a talented amateur and an untalented professional who has the cheek to sell rubbish? Art School. At the end of it, the "artist" has a diploma.
It seems that the writing is on the wall for most forms of expression and the "arts" are not an exception. However, the world of the "collector" still has a way to go to be transformed by the disintermediation that most other areas of free exchange are evolving to.
Your audience should be in conversation with you not just the gallerist.
I was reading on Alec Soth's blog on "The Sentence"
But while photographers can help shape their sentence, they can’t control it. No matter how many times Cartier-Bresson called himself an anarchist it would never make the sentence. And if Paul Shambroom ends up taking a picture of George Bush’s assassination, that will be his sentence. Unless you change your name, the sentence can only be shaped, not controlled.
and then ran into this
From Mark Mothersbaugh, 2002 with Andy Spade
It takes a masterful artist to have his art embraced by popular culture and not turn to shit. You have to be really clever or really subversive. Target used the Devo song "Beautiful World" in a commercial last Christmas. That was one of my favorite moments for us as a band, even though they didn't include the punch line of the song, which is, "It's a beautiful world for you, for you, but not for me." That song was basically a diatribe against mindless consumerism. It's very ironic but also very satisfying that they'd use it.
Makes me wonder if it is better to have a hand at writing your sentence and have if forgotten or embracing the open source nature of one's own reputation and go with the flow.
From 2point8's conversation with Nils Jorgensen
Q: I’ve mentioned elsewhere here (or at least I thought I did) that there are two strong and particular streams in street photography: the Sander/Arbus/conversation side and the H.C.Bresson/Winogrand/candid side. Can you talk a bit about how you ended-up on the moment-based Winogrand side? Have you done much conversation-based portrait work, or is it always candids?A: Getting involved and talking to people is simply not the way I like to work, nor has it ever occurred to me to do so. It is not in my nature to approach people unless forced to for some reason. It could be that early on I was too embarrassed to approach people, and have simply kept working like that ever since. But the truth is I don’t really want to disturb the flow of life around me. I much prefer waiting and hoping for something to happen. It’s also much simpler. For me the whole point of photography is not to interfere with what is happening, or might be about to happen. It could be more interesting than what I might have in mind anyway. If nothing happens, that’s just too bad.
Q: Why street photography? It takes a lot of time, it’s potentially troublesome, and sometimes people yell at you. Are the rewards worth it?
A: It is a question I have never contemplated too much. It is just something I do. Of course, it’s relatively easy to get started. To start, all you have to do is wander around aimlessly, with a camera. This bit comes naturally to me, and I have no urge to be more constructive with my time. But of course, as you say, it takes a lot of time, and you can wander the streets all day and maybe not have anything to show for it. So that aspect is much less easy. To create an image which remains strong year after year is extraordinarily difficult. The images which remain good over the years become precious to you, as you cannot easily go out and get a few more. Then there are the doldrums, from which one cannot believe one will ever come out of. It can all change in one quick moment. And one may think one can artificially speed things up, (and naturally it helps not to sit at home all day), but in the end there is nothing you can do, except wait and wander. For me an image is just as likely to come to you by just waiting for it to arrive, rather than to go searching for it.
The draw to street photography is strong particularly when it is what in front of you. For me photogrpaghy is like sex, the intersection of what you're intereseted in and what you can get.
I have not ever wanted ever to strike up a conversation with anyone who has found their way in to my image harvests. Perhaps said best by one commenter on my images at Flickr when they said, "You like people. But don't worship them. People lost in space."
Much has been said how the new digital technologies are rehaping the face of news gathering, presentation and distribution.
In Doom and gloom for photojournalism? Mindy McAdams discusses a slideshow from Yahoo! News -- In the Wake of the Coup -- is wholly composed of photos from Flickr.
Reports of the death of painting, however, were an exaggeration. Painting did not die, but it was certainly transformed. You might think of the work of Jackson Pollack and react with distaste and displeasure (if abstraction offends you, that is); you might also think of Picasso, De Chirico, Magritte, or Cézanne. I'm not attempting an art lesson but rather advancing the idea that change is not bad, and what might seem to be a death in one person's view might be a rebirth in someone else's eyes.I'm not ready to acknowledge the death of photojournalism -- but I am scanning the horizon for signs of its new forms.
"Whatever you spend your time and money doing," said News-Press managing editor Mackenzie Warren, "is news" and when Martin Parr or Brian Urlichor Luc Delahaye photograph it , it is art.
I have been stuck on how these two ideas (in the three seperate posts) relate to each other.
Photography and blogs uses push botton solutions to simplify complex technical processes.
Curation influences: a blog post on a newspaper site makes it "news". A photograph on a gallery wall makes it "art".
"Hyper local "is niche in both the contemporaty gallery scene and street by street coverage.
Blogging and photography in practice are very plastic and elastic. The more widely distributed the tools become, the more pedestrian the output is. A "snapshot aesthetic" takes hold.
This quote for Sontag's On Photography
From its start, photography implied the capture of the largest possible number of subjects. Painting never had so imperial a scope. The subsequent industrialization of camera technology only carried out a promise inherent in photography from its very beginning: to democratize all experiences by translating them into images.
could easily be written as this
From its start, blogging implied the capture of the largest possible number of subjects. Journalism never had so imperial a scope. The subsequent industrialization of web publishing technology only carried out a promise inherent in the internet from its very beginning: to democratize all experiences by translating them into readable pages.
Or have I had too much coffee agian this morning?
Being dead helps: the 'found' photos of Jerry Shore
From Tim Connor (colorstalker) on Flickr
Sure, it’s sad that a man of such talent & drive died unknown, believing himself a failure, that his work almost disappeared. But of course such things happen all the time. The real tragedy, the morbid joke, is that in the end the publicist, the curator and the collector are more important than the art. Without a collector/archivist like Daniel Wolf to buy up his prints after he died & a writer of Gopnik’s stature to analyze them in a major publication, we wouldn’t know anything at all – nada forever -- about Jerry Shore.
From Thomas Hawk
Why after a year and a half can't Yahoo! get it together and get Flickr's interesting photos integrated better into Yahoo! Image Search? It's amazing that Yahoo! has a legitimate trump card where they could dramatically show their superiority to Google and it largely gets ignored.
I know I sound like a broken record but why doesn't Flickr just throw the video upload switch and let this very dedicated community develop into the leading shared orginal content video service.
I am so often convinced the blogs, vlogs, pods are linked to the very modern tradition of photography.
Does this statement ring true?
Blogging is a modern invention—one that, from its inception, inspired a host of conflicts and anxieties. Indeed, when we talk about blogs we are talking about modernity; the doubts that blogs inspires are the doubts that modernity inspires. Blogging is a proxy for modern life and its discontents.
What are some of these troubles? From the first, the essential nature of blogging was puzzling. It tended to blur categories—which can be both exciting and unsettling. Was blogging a kind of art? of commerce? of journalism? of science? of surveillance? Was it a form of creativity, a way of bringing newness into the world, or was its relation to reality essentially mimetic or, even, that of a parasite?
The original:
The Treacherous Medium
Photography is a modern invention—one that, from its inception, inspired a host of conflicts and anxieties. Indeed, when we talk about photography we are talking about modernity; the doubts that photography inspires are the doubts that modernity inspires. Photography is a proxy for modern life and its discontents.