diptych # 171 ~ the central instrument of our time

signs of Autumn / shafts of light ~ Keene, NY / Au Sable Forks, NY - in the Adirondack PARK • click to embiggen

As I was watching The Late Show with Stephen Colbert, he did a segment with the inventor of / founder of GoPro, the maker of GoPro, wear-them-on-your-body, video cameras and it got me to thinking on the image-centric world in which we live. One of my first thoughts was of a James Agee's statement from his intro to the seminal book, Let Us Now Praise Famous Men, a collaborative effort comprised of Agee's writings and Walker Evans' pictures:

The camera it seems to me, next to unassisted and weaponless consciousness, the central instrument of our time.

Having written that statement in the 1941 picture making world, one can only imagine what Agee might think of the camera in today's obsessive / crazed picture/video making world. I'll take a stab at it and conjecture that he might write something like:

Images it seems to me, above and beyond unassisted human looking and seeing, to be the central reality of our time.

Albeit a virtual reality and that's where my imagination took over ....

.... I can imagine a movie, set in the future, about the human race where everyone of sufficient means (the haves*) is implanted with a GoPro-like image/video capturing device (a third eye on the forehead?) which is conveniently and effortlessly linked to a mega-Cloud of recorded human experiences, a sort of hyper Facebook / Instagram in the ethereal aether.

Fledgling humans not only begin recording their life events but are also fed - via a dizzying array of devices - an ever increasing dose of the life events of others which, of course, are interspersed with copious amounts of adverts. Once a sustainable level of virtual reality addiction is achieved, individuals are then left to their own devices (double entendre alert) in order to satisfy their diversionary needs and desires.

Over time, addicted individuals become much more interested and captivated by viewing the virtual reality world rather than experiencing the real world for themselves. Although, the rules of the game are such that they must make some time each day to feed images/recordings of their life into the Cloud in order to keep a steady supply of fresh chum in the water.

Plot wise, enter a group of subversive revolutionaries / radicals who are not only living their live lives but are also working to rescue as many of the virtual reality addicted bioroid-like humans as possible. The work of the reality-based radicals is hampered by the fact that they are hunted (with the purpose of cleansing them from the planet) by the advertising consortium which rules and controls the virtual reality Cloud (and hence, the bulk of humanity which inhabits it).

The movie contains a lot of action adventure and loud noises as such a pursuit dictates. However, there is some quiet behind the scenes drama in which the advertising overlords are trying desperately to redact the images/videos of the conflict between them and radicals. Images/videos which have, ironically, been hacked into the Cloud by the radicals for the propose of educating / informing the addicted to the conspiracy in which they find themselves intertwined. Unfortunately, the virtual reality addicted are unable to distinguish virtual reality from actual reality and therefore consider those images/videos as just another form of virtual reality diversionary entertainment.

At the end of the movie, the plot line is left unresolved in order that the movie can spinoff a number of sequels and a long running television series. All of which are loaded with adverts.

*the have-nots are left to wallow in the boring world of real life.

diptych # 169-170 ~ a fortuitous change in plans

getting petrol ~ Keeseville, NY - in the Adirondack PARK • click to embiggen
in the gloaming ~ Au Sable Forks, NY - in the Adirondack PARK • click to embiggen

Went out to make some late day pictures only to realize that I needed petrol in order to drive around and seeing what I could see. For reasons too complicated to relate here, the nearest petrol station was about 12 miles away from my intended picture making destination. Consequently, the 24 mile there and back again diminished, in fact eliminated, the possibility of late day picturing and left me with the gloaming, light wise.

Fortunately for me, I really like making pictures in the gloaming. It's a "mysterious" time of day which appeals to my eye and sensibilities so I didn't consider this chafe of plans to be a negative one.

FYI, the picture of the signs was a very fortunate opportunity that will likely be used as the cover of my new book - new body of work - entitled Signifier & Signified ~ information overload.

ku # 1323 / diptych # 167 ~ autumn color in the gloaming

trees in ravine ~ near Inlet, NY - in the Adirondack PARK • click to embiggen
trees in ravine ~ near Inlet, NY - in the Adirondack PARK • click to embiggen

Yesterday, during my return drive home from Rochester, I managed to find some autumn color.

This autumn the color has been spotty - some areas not much, other areas more color but rather subdued. That situation is the result of protracted warm weather - highs in the 80s - well into the third week of September. At which point many leaves were on the ground before turning color and what remained turned slowly and somewhat subdued. This condition is not a problem for me and my picture making inasmuch as I do not make very many pictures of riots of intense autumn color.

In any event, yesterday evening well after the sun had set and with a slightly overcast sky, I ventured into a ravine and discovered the color I was hoping to find.

civilized ku # 2980-81 / diptych # 166 ~ Tibetan Thangka art

Tsering Phuntsok ~ Plattsburgh, NY • click to embiggen
Thangka scroll / detail ~ Plattsburgh, NY • click to embiggen
Thangka paints ~ Plattsburgh, NY • click to embiggen

As I mentioned in yesterday's entry, the wife and I had dinner - a small private affair at the home of the President of SUNY Plattsburgh (college) - with a couple notable Tibetans, most interestingly the Tibetan artist, Tsering Phuntsok. The dinner followed an exhibit of Tsering Phuntsok's art which is featured in The Festival of Tibetan Art & Culture at SUNY Plattsburgh. The exhibition is in honor of His Holiness the 14th Dalai Lama who celebrates his 80th birthday this year.

Tsering Phuntsok is a warm and welcoming individual and he shared much information about his art and life. He fled Tibet after the Chinese excursion (invasion?) into Tibet and eventually landed in the US where he continues to practice his mastery of Thangka painting - Thangka is a Tibetan Buddhist painting on cotton, or silk appliqué, usually depicting a Buddhist deity, scene, or mandala.

Tsering Phuntsok also demonstrated / explained some the techniques employed his painting. Things such using a brush made of 2 hairs from a cat's neck to paint the ultra-fine detail in his work. He uses traditional Tibetan paints which he makes from natural elements crushed to a fine powder and mixed with water. Many of his paintings are completed over 2 years (working in his spare time).

Needless to write, the exhibit and the dinner were an unexpected delight.

civilized ku # 2979 / diptych # 164 ~ German graveyard and fallen apples

German graveyard ~ near North Creek, NY - in the Adirondack PARK • click to embiggen
fallen apples / Rist Camp ~ Newcomb, NY - in the Adirondack PARK • click to embiggen

Last year while at Rist Camp, we meet this guy and his dogs at the beach in Minerva. This year while at Rist Camp we discovered where he lives. Most likely it's at the German graveyard. Or, at the very least, it's where he parks his car.

Next year we'll have to knock on the door.

ku # 1316 / diptych # 162 / triptych # 22 (ku # 1317-19) ~ the unbearable lightness of light

stand of trees ~ Newcomb, NY - in the Adirondack PARK • click to embiggen
libations / tree fungus w pine cones ~ Newcomb, NY - in the Adirondack PARK • click to embiggen
it's never quite the same ~ Newcomb, NY - in the Adirondack PARK • click to embiggen

I suspect that people who, in their daily routine, normally would not pay too much attention to light would find it nearly impossible to ignore "the light" at a place like Rist Camp.

I have often written that, in my picture making, I rarely "chase the light". That more often than not, I only make pictures which feature "the light" when it chases me. Which does not mean that I don't appreciate "the light" when I see it. However, I will not always make a picture featuring "the light" when I see it. To the contrary, I often deliberately avoid making a picture of "the light" because I have absolutely no interest in making yet another cliché picture of it.

Re: "the light", George Eastman, the man who put a camera in the hand of any everyday person who wanted one and made picture making easy (you push the button, we do the rest) said:

Light makes photography. Embrace light. Admire it. Love it. But above all, know light. Know it for all you are worth, and you will know the key to photography.

With that statement, it could be reasonably postulated that Eastman was advocating "chasing the light". On the other hand, no one knew more about the "mechanics" of light striking a light-sensitive surface than Eastman and his legion of research and development cadre. For him and them, knowing about light was their key to photography.

In any event, at Rist Camp "the light" is chasing me minute to minute, or so it seems.

FYI, George Eastman also said:

The world is moving, and a company that contents itself with present accomplishments soon falls behind.

George must be spinning like a top high-speed drill press in his grave.

tourist picture / ku # 1315 / diptych # 161 ~ why ask why?

Edison-Ron on Rist Camp kitchen floor ~ Newcomb, NY - in the Adirondack PARK • click to embiggen
ever changing Rist Camp porch view ~ Newcomb, NY - in the Adirondack PARK • click to embiggen
Rist Camp porch views ~ Newcomb, NY - in the Adirondack PARK • click to embiggen

On TOP Mike Johnston asked you to ask yourself a question:

I'd encourage you to ask yourself a question: why do you really do this, anyway?

The "this", of course, is picture making.

The question was posited in the cause of helping picture makers get over or at least come to grips with their desire - some might say "need" - for attention / success in their picture making endeavors. Or, as Johnston puts it - why am I not famous, or when am I going to make a little money at this, or any of the other gnawing dissatisfying insecurities that seem to crop up for all of us.

Johnston's answer to his question - for the most part, photography is just a fun activity. A recreation. An enjoyable pastime. We do it because we enjoy it.

I am reasonably certain that answer is good for most picture making participants. Perhaps even for you. Although, for me, no so much.

And it's not that I do not enjoy making pictures. However, the word "enjoy" really is not the word I would use to describe my involvement with the medium. Nor is the word "fun". In fact, when asked why I make pictures, my answer is not because it is fun or enjoyable. Invariably my answer is, "Why not?"

That answer derives not from my desire to be a smart / wise ass but rather from the fact that there would have to be a very compelling reason for me not to make pictures because, making pictures is what I do. Not because it's a "fun activity" or "enjoyable". It's more because, for me, picture making is like breathing - I don't think about why I do it, I just do it - in fact, I have been making pictures of one kind or another since as far back as I can remember.

Which leads me back to where I started this entry - most recently the question "Why do I really do this, anyway?" has been much on my mind.

There are no concrete answers as of yet. Notions of creating, drawing attention to something (my referents, their potential for meaning, and my pictures in and of themselves), making connections, in a more visceral sense, to my environment (people, places, things), and last but not least, something in my DNA / genetic makeup which has created a preternatural drive to make pictures.

Over the next few weeks, most of my entries will be ruminations on the topic of "why". I hope to incite comments and feedback both about my ideas on the subject as well as your insights regarding your own personal motivations in the realm of picture making.

I know from conversations with other artists (non-photography), that they would be interested in and participate in such a conversation. IMO, it could be a fun and informative ride.

Are you up for it?

Today's Artspeak Gobbledygook - My current work predominantly deals with themes of identity, race and heritage as it relates to preconceived notions of Euro-centric beauty and heritage within post-colonial societies ~ found on the internet

tourist picture / civilized ku # 2965 / diptych # 157 ~ conversation / dialogue

clan picture makers ~ Stone Harbor, NJ • click to embiggen
bike ~ Stone Harbor, NJ • click to embiggen
late day beach haze ~ Stone Harbor, NJ • click to embiggen

Just read a good opinion essay, The Conversation of Photography, on Conscientious Photography Magazine. The essay is a good read and addresses issues that will probably be of interest to many.

Issues such as: "... so many genres of photography have become so stale", and "Contemporary photography has become too comfortable ...", and "... it can’t just be a rehash of things we’ve seen a gazillion times already ...", "What I’m interested in instead is the dialogue someone’s work has (or attempts to have) with everything else."

IMO, the essay has a good deal of food for thought.