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“this puts an end even to the imagining of the image, to its fundamental illusion since, in a computer generation, the referent exists and there is no place even for the real to ‘take place,’ being immediately produced as virtual reality…All this leads inevitably to the death of photography as an original medium. With the analogue image it is the essence of photography that disappears. That image still attested to the presence of subject to an object…

The problem of reference images was already an absolute one: how is it with the real? How is it with representation? But when, with the virtual, the referent disappears, when there is no situation of a real world set over a light-sensitive film…then there is, ultimately, no possible representation anymore.”

one last Baudrillard post for the time being

“There is great affectation in ascribing meaning to the photographic image. To do so is to make objects strike a pose. And things themselves begin to pose in the light of meaning as soon as they feel a subject’s gaze upon them.

[…]

The intense pleasure of poetic language lies in seen language operating on its own, in its materiality and literality, without transiting through meaning—this is what fascinates us…The Vanishing Point of Language.

May not photography also be said to function as…the Vanishing Point of the Picture[?]”

sitting in the library with a stack of books as Baudrillard explains things in the words I could not find.

hopefully i’ll make art again sometime soon

hopefully i’ll make art again sometime soon

(Source: ninaperlman.com)

disturber-magazine:

Melchior Tersen

disturber-magazine:

Melchior Tersen


(via disturber-magazine)
Eric Helgas

the temporality of all nontemporal things

“By turning away the essential opposition between the temporality of the text and the spatiality of the image, the interdisciplinary reading of photography has created an internal subdivision between two types of pictures: on the one hand, pictures capable of being read within a temporal (or even narrative and fictional) prospective, and on the other hand, pictures where this temporal dimension is simply not relevant. And although the frontiers between both categories are always shifting, the mere acceptance of this difference is hazardous, since it sneakily reintroduces a kind of essential difference between time and space that the interdisciplinary approach of photography should question more radically.”

n o n t e m p o r a l   t h i n g s ,  t e m p o r a l l y

things I’m trying to say-

“Each new occurence of interdisciplinary research crudely reveals the limits of all other language. and of course taking into account the image itself as a thought- and knowledge-producing device can only intensify our attention towards everything that escapes or exceeds verbal language. Visual thinking is not only the lesson one can draw from the contact of words and images in photographic research. Why not turn the argument around and observe that whatever the obstacles may be, images do manage to say something, whereas words do not necessarily fail to do the same?…The very fact that the interdisciplinary intermingling of words and images in our discourses on photography only seems to enhance our faith in the impossibility of representation may be seen as a paradoxical invitation to go beyond this difficulty and to search for clarity…Why not consider our new commitment to interdisciplinarity and the new relationships between words and images an attempt to speak nevertheless?”

from Conceptual Limitations of Our Reflection on Photography: the Question of “Interdisciplinarity”—Jan Baetens

(Source: amazon.com)

Ryan Feeney 
staring contest
xerox, wood, painters tape

Ryan Feeney

staring contest

xerox, wood, painters tape

Dad After Watering the Plants, April 2012

Dad After Watering the Plants, April 2012

(Source: ninaperlman.com)

tommybruce:

Portrait no. 3
24x36”, Digital Photo
from Living the Life
    Living the life is about taking the language of commercials as honestly and earnestly as possible. If this is what you are telling me your product can do for me (make forget about my problems, bring my family together, perfect my home, cure my loneliness, allow me to connect with my children, let me relax, make me happy, get rid of that stench, take me to another world, make me pretty, make me smart, make me sexy, stop my stress, make mornings good, make me laugh) then okay, I am going to try to do that. 

Ansel Adams / WhiteWhite Teeth

tommybruce:

Portrait no. 3

24x36”, Digital Photo

from Living the Life

    Living the life is about taking the language of commercials as honestly and earnestly as possible. If this is what you are telling me your product can do for me (make forget about my problems, bring my family together, perfect my home, cure my loneliness, allow me to connect with my children, let me relax, make me happy, get rid of that stench, take me to another world, make me pretty, make me smart, make me sexy, stop my stress, make mornings good, make me laugh) then okay, I am going to try to do that.

Ansel Adams / WhiteWhite Teeth


(via tommybruce)

"Trying to pin down an exacting definition of “contemporary photography”, an ultimate list of what’s in and what’s out, has proven to be an elusive, frustrating, and perhaps even delusional, pastime. Do we distinguish between or eliminate camera-less images, photograms, darkroom effects, collage, montage, and rephotography/appropriation? Or do we just include anything and everything that has its output as a photographic print, regardless of the intermediate processes used to make it? Where are the edges and bright lines? These kinds of questions and debates have become even more puzzling with the increasingly broad use of digital technology and the advent of countless new printing processes. The boundaries of our photographic playing field are getting murkier every day."


(via photographsonthebrain)
David Semeniuk