Here is my essay feedback, I am happy with this but I will make the changes suggested as well as ones I have thought about myself and then post my final essay on here.
Wednesday, 22 February 2012
Thursday, 9 February 2012
Deleuze and Guattari and Creativity
[Notes from provided lecture notes and other research as lecture was hard to follow]
Objectives
- Deluze and Guattari draw emphasis to the constructed and contingent nature of social reality
- All social life as a construct that keeps changing and reconstructing itself
- Form of thinking in social life, moved into psychological realm
Introduction
- D philosopher and G a psychiatrist, hugely influential in numerous fields
- Collaboration worked against backdrop of student protest in Paris in 1968. Attempt to directly challenge the French state led to a reassessment of the role of the activist in society
- D and G - A thousand Plateaus - book that this lecture is about - each chapter is a plateau - about a particular set of circumstances brought together in an intensive relationship
- Tried to re-think social change
- Project a revolt against traditional modes of thought, which they identify with a 'tree-like' structure
- Tree-like thought: one line of argument must lead to another, branching out in a structured manner
- Thinkers such as Kant and Hegel, whose ideas such as the sovereign subject of thought, universally valid reason, and the moral good continue to shape contemporary social life
- D and G conceived an alternative structure for thought that privileges difference, play and creativity: rhizomatic thought
- Multi-disciplinary practices are brought into a state of play, and concept are re contextualised and reverberate together
Rhizomes
- A rhizome is an underground stem that grows horizontally and pushes up lateral shoots
- The rhizome is an alternative model of thought to the tree like structure of thinking
- Claims are no longer linked in a continuous vertical progressions towards a conclusion, they are linked through leaps of association and the relation of seeming unconnected ideas
- D and G emphasise that concepts are not waiting for us but they must be invented. Each one contains components that come from other concepts, and also links up with these others in a state of mutual support, co-ordination and articulation
Saussare Diagram
- Refer back to the concept of the signified
- This mental concept is produced through an agreement between users of a given language system
- The concepts that we use in thought and speech gain their meanings purely from a repeated pattern of contextual usage between different language users
- Individual words, such as dog, gain their meanings from agreements between people that this word and no others refer to this particular animal
- D and G's notion of the rhizome draws upon the interconnect nature by which meaning is constructed. The rhizome builds relationships between objects, places, peoples and ideas, generating unanticipated commonalities between seeming disparate entities.
- Rhizomes are creative and may be intentional or unintentionally produced
Isa Genzken
- Multi-disciplinary practices are brought into a state of play, and concept are re contextualised and reverberate together
Rhizomes
- A rhizome is an underground stem that grows horizontally and pushes up lateral shoots
- The rhizome is an alternative model of thought to the tree like structure of thinking
- Claims are no longer linked in a continuous vertical progressions towards a conclusion, they are linked through leaps of association and the relation of seeming unconnected ideas
- D and G emphasise that concepts are not waiting for us but they must be invented. Each one contains components that come from other concepts, and also links up with these others in a state of mutual support, co-ordination and articulation
Saussare Diagram
- Refer back to the concept of the signified
- This mental concept is produced through an agreement between users of a given language system
- The concepts that we use in thought and speech gain their meanings purely from a repeated pattern of contextual usage between different language users
- Individual words, such as dog, gain their meanings from agreements between people that this word and no others refer to this particular animal
- D and G's notion of the rhizome draws upon the interconnect nature by which meaning is constructed. The rhizome builds relationships between objects, places, peoples and ideas, generating unanticipated commonalities between seeming disparate entities.
- Rhizomes are creative and may be intentional or unintentionally produced
Isa Genzken
- Isa's sculptures can be considered as rhizomatic artworks. Her work reflects the chaos of the urban landscape, yet can look like small scale skyscrapers. Objects, images and poured paint collide, creating formations that suggest future architectural production. Materials, images and ideas collide suggesting possibilities for the transformation of urban space.
Assemblage
- D and G developed the notion of assemblage to address how conventional meanings and practices become fixed
- The use of this word comes from the french word agencement, the meaning of which emphasises processes or arranging, organising and fitting together.
- Assemblages emphasise the convergence of heterogeneous (lacks uniformity) elements such as food and furniture
- An example of an assemblage is the place we make our home - a home is a way in which we make a space express comfort to us
- D and G describe a child alone and afraid of the dark, the child hums or sings a tune as a way of bring familiarity to a place
- Home is not a pre-existing space, it is not necessarily in the house, it can be anywhere
- The literal meanings of words are always accompanied by assumptions of value, power and authority
High School Diploma
- Pre-supposed in the statement of a high school diploma is a relation of the power between the principal and the student as the bestower and receiver of knowledge
- Implies a debt to be repaid by the student as society has spent a long time on the student so they now need to go and get a job
- The role of words like "i" and "you" shift back and forth between people in conversations - also serve as a form of identification
Good Boy, Bad Boy
- Videos of a man and woman who face the viewer repeating statements that continually change through the substitution of an individual word. Variations are with words such as "I", "you", "we" and "they" and they change the roles between the accuser and the accused
- Language is not just about the transmission of messages, it places you under obligation to reply
- Simple language imposes a rule upon the language user, and forces them to accept the presuppositions of value power and even prejudice.
Hoodies
- The term hoody has come to signify both a hooded sweater and a person wearing a hooded sweater with the hood up. Links to criminal activity, a person wearing a hoody is usually considered to be up to no good. Employing the pre-suppitions of the language system
- Assemblages of all kinds operate within a territory
- Situation - a group of kids in hoodies outside a supermarket - they form an assemblage of bodies that is coded in relation to a series of judgements to passers by. One might assume what they are plotting to do. They make people nervous. The trolley park is no longer just a space, it is re-terrotorialised as a space of social interaction and danger. It has been subtracted from the supermarket territory.
- The process of de-terrotorialisation and re-terrortorialisation is continued. They occur within assemblages with the flows in which their component parts move at different speeds.
- How the assemblages are judged can change with media reporting etc
- Different social constructions change at different rates, and this affects how assemblages form and shift
- For example, that status of teenagers in society can change very quickly
Zaha Hadid
- The architect Zara Hadid expresses such assemblages through architectural forms
- The structure of the building is conceived in relation to the spatial flows that structure the district of Rome, which the architect de-territorialises into architectural forms.
Subjectivation
- People are caught up in these developments
- The process of subjectivation: individual bodies are buffeted around these social assemblages - from school to home to work - and in a continual immersion in social activity - reading other peoples approval or disapproval, by selecting interests or passions or having them prescribed by others - a subject is produced
- D and G consider we were constructed through subjectivation
- The subjects recognition of itself is an after effect - "I" is empty but a means of self-reference
- Society produces subjects
- Ideology - systems of beliefs, images, values, and techniques of representation in which particular social classes conflict with one another
- Ideology shapes how we view ourselves and our place in the world
- Multiple ideologies circulate within any given society at one time, yet some are able to dominate as they reflect the dominating classes interest
- Social institutions such as the church, school, the family etc reproduce ideological formations, which serve to maintain the state in its existing form, by reflecting the ideology of the ruling class
- Such institutions are identified as ideological state apparatuses, which serve to re-produce and re-enforce dominant ideologies. Such apparatuses form the material contexts that integrate individuals into a range of social practices that are conducive to maintaining existing class relations.
- These ideological state apparatuses serve to reproduce the presumptions of the language that code material contexts and the roles of individuals within them.
- As people navigate these different contexts they are led to take on different identities that are deemed appropriate to them, and they adjust themselves to what is deemed acceptable to their roles within these places.
Commuter
- Working day example: alarm clock wakes you up, busy role of commuter, thrust into wage labour, and then back home required to perform the role of a parent/partner. Each different situation makes a series of unique demands upon the individual, to which they must conform, at the risk of castigation.
Schizo-analysis
- D and G set out this model for the social construction of identity and they also try to create a practical means by which individuals might reconfigure their own subjectives.
La Borde
- This was a radical clinic not to cure the mentally sick but to encourage the individual to participate in their own self-creation
- Schizo-analysis questioned the dominant modes of interpretation, emphasising the relations of power between analyst and analysand
- For freud, paternal relationships shape an infants emerging psyche. Tree-like model theory
- D and G note that psycho analysis is not only a theory but a practice of calculation and treatment
Psychoanalysis
The basic tenets of psychoanalysis include the following:
- human behavior, experience and cognition are largely determined by innate and irrational drives;
- those drives are largely unconscious;
- attempts to bring those drives into awareness meet psychological resistance in the form of defence mechanisms;
- beside the inherited constitution of personality, one's development is determined by events in early childhood;
- conflicts between conscious view of reality and unconscious (repressed) material can result in mental disturbances such as neurosis, neurotic traits, anxiety, depression etc.;
- the liberation from the effects of the unconscious material is achieved through bringing this material into the consciousness (via e.g. skilled guidance).
- Schizo-analysis aimed to remove such models
- For D and G, the fragmentation of the schizophrenic's connection with the world is a quelled attempt to engage it in new ways
Body Without Organs
- The concept of the body without organs describes a radical reduction of the bodily awareness down to an unordered state
Francis Bacon
- Bacon paints flesh and nerve
- Worked from photographs of the people he was painting and other images such as wild animals, images of diseased bodies, and more... These photographs are virtual layers of significance that shape the actual recognition of the person before the artist
- Body without organs
- Process allows one to break away from fixed identities
- Re-territorialise within new forms of identity
- “Is it really so sad and dangerous to be fed up with seeing with your eyes, breathing with your lungs, swallowing with your mouth, talking with your tongue, and [and] thinking with your brain. Why not walk on your head […] see through your skin, breathe through your belly. […] When psychoanalysis says “stop, find yourself again”, we should say instead, “Let's go still further, we haven't found our body without organs yet”.
Virtual/Actual
- Key themes for D and G are construction and contingency ( a future event or circumstance that is possible but cannot be predicted with certainty.)
- What something signifies to you could have been different
- This is because examples are based upon social formations and everything can change
- Meanings change, such as a banker being a respectable job but now the public considering them to be reckless
- The only certainty is difference
- The western tradition of thought is pre-occupied with identity
- Re-occurence of Baudillard's idea of reality - corroded by simulacrum
Mont Sant Victoire
- Everything is a construction made up of smaller components
- A mountain is a traditional notion of the real, as opposed to something imaginary or copied no longer holds
- Every object is only ever known from its given perspective
- These paintings seek to capture "a synthesis (refers to a combination of two or more entities that together form something new) of change and permanence."
- The paintings capture the structure of the mountains and the artists own perception of the scene, such as how things are ordered, how he perceived depth, his central visual focus...
- If we are to retain the notion of real it must be re-conceptualised
-
- The actual refers to states of affairs, bodies, and individuals, whilst the virtual refers to what these entities imply, and what in fact brings them into existence.
- A mountain is a traditional notion of the real, as opposed to something imaginary or copied no longer holds
- Every object is only ever known from its given perspective
- These paintings seek to capture "a synthesis (refers to a combination of two or more entities that together form something new) of change and permanence."
- The paintings capture the structure of the mountains and the artists own perception of the scene, such as how things are ordered, how he perceived depth, his central visual focus...
- If we are to retain the notion of real it must be re-conceptualised
-
- The actual refers to states of affairs, bodies, and individuals, whilst the virtual refers to what these entities imply, and what in fact brings them into existence.
Conclusion
Between creative rhizomatic constructions, social assemblages, individual re-programming, and questioning accepted notions of thought, Deleuze and Guattari developed a series of tools for strategic thought and action. These provide a set of tools for those who wish to challenge order that exists for its own sake, and a way of understanding how we today exist in relation to an ever changing, and ever more complicated modern world.
Monday, 6 February 2012
Seminar Notes: The Gaze
The Gaze
- Grows with the theory of marxism and feminism
- Idea that men make changes in the world where women are just there to appear for men
- No dialogue between us and the woman, we are looking at her but she is not looking at us, our gaze is never challenged, always allowed to look without knowing that we have been caught
- When the gaze is returned you are forced to engage as a subject rather than an object
- Because the painting is called Vanity it suggests we can look at it too, laughs at the woman (Hans Memling - Vanity)
- All art at this time was made by men, and only men bought art
- Our society has always been patriarchal - dominated by men, who own the property, businesses, farms etc...
- Super structural forms are produced to naturally reflect and legitimise the power relations in the base
- Men dominate women in terms of economics, so culture emerges that naturally reflects the dominance of men and in a way excuses it
- Paint naked women so men can look at pictures of naked women in comfort - these images are designed to be pornographic
- Because they are art history it is justified, the idea of the 'nude', justified by the art historians (who were also men) who said this is art, and not sleazy
- Excused through aesthetic terms, ideological circle
- Hyper reality comes in, with copy after copy being made, so this becomes a style, which almost becomes a reality of what it is to be a woman
- Unfairness in the base
- Visual culture is always produced by men
- At the core this is a fantasy of the male dominating women - a reminder to men what they 'should' be doing
- Took about 500 years at least for a woman's voice to get heard, differencing this mechanism
What are the differences between nude in Cabanel's Birth of Venus and in Manet's Olympia?
- Olympia returns the gaze - but looks un impressed, a challenge
- In Venus she hides from the gaze - a flirtatious, coy gaze?
- Venus goddess of love - fantasy scene, body is presented to you
- Olympia - prostitute, body is on display, but only available to you at a price, body language more guarded
- Olympia caused a scandal as it contains a prostitute, although both are images of naked women
- If it is a mythical goddess it is seen to be art
- Sexually available women in Venus doesn't exist, the nearest you come is having to pay with Olympia, facing the reality of real sexual relationships
Manet modelled the style of Olympia on Titan's Venus of Urbino - What are the differences?
- Gaze is met, implies a certain intimacy, not a confrontational gaze, a more inviting one
- More laid back, relaxed, inviting
- Independent loyal female, with the symbolism of the dog, as compared to the cat on Olympia's bed
- A maid looks after the children, where a servant brings the prostitute presents from her suitors
- Her hand isn't guarding her as it is in Olympia
- Venus is supposed to be the wife, who's job is to look beautiful and wait for her husband to come home
- Social ideologies played out
- Same roles played out in pornography
- Women are always in the submissive role, about male domination of women as much as it is about arousal
- The woman is a sexual object, taking on strangely child like qualities
- Gives the viewer greater security
- These images become acceptable and cause other images to be created
- Same relationships played out in advertising
- In women's magazines articles about what men want and how to give it to them, constant instructions and reminders, let them know they are being scrutinised, women start to worry about this, ultimately self-regualte, act up to the gaze, the gaze of an entire culture
- About power
Seminar Notes: Baudrillard and Hyperreality
Baudrillard and Hyperreality
Plato's allegory of the cave
- A story that is a metaphor for how society operates
- In ancient greece, there was a cave where a load of prisoners were kept by slave masters, they were born in this cave and live there, ultimately stay at the bottom of the cave until they die
- The only thing the prisoners can see is shadowed cast on the walls of the caves cast by their captors and the fire - only two sources of light
- The prisoners take these images to be reality as it is all that they know
- One of the prisoners escapes as sees grass, sunlight, trees etc, tries to free other prisoners, but instead of being freed, they think he's gone mad and kill him
- The philosopher drags people from the image reality to actual reality
- Modern day interpretation - think of the shadows to be like television, news, advertising, mass media
- There is a real world out there, but there is also an image world we choose to take instruction from
- Unreality masks reality
Coke Branding
- Example: Haddon Sundblom was employed by Coca Cola in the 1930's to make its image appeal in the festive season. Wanted him to look western, happy, fun and wanted his outfit to fit in with the coca cola colours. They choose red and white and keep using this over and over again as the image that goes with their christmas campaigns, and now, this particular father christmas is the one that is known.
- This image has become the 'reality' of santa claus, as before he could have been eastern, worn green etc
- Origins in our culture are lost to be replaced by copies of copies of copies, to the point where it is almost impossible to trace the roots of these series of copies, we get lost in this world of copies and repetition
- Baudrillard is interested in how our investment in these images affect us as people, physically and emotionally
- Reality is replaced by images of reality which then make us forget about what the 'real' is, so these images change reality
Coke Vs. Pepsi
- Experiments with a brain scanner to see if people can tell the difference between pepsi and coke
- Results show we care more about the logo than the actual product, as your brain responds to the brand image
- People said they preferred coke, even when it wasn't actually coke coming out of the bottle
- Something unreal (brand) affecting real world (taste)
- Commercial brand image causes physical effects
Post-structuralism
- Baudrillard key influence: Guy Debord's theory of the spectacle is similar with Baudrillard theory of hyperreality.
- Society has become increasingly unreal, immense accumulation of spectacles
- A society that lives around spectacular images of life rather than a real life
- Spectacle is not a collection of images, but a social relation among people, mediated by images
- Trying to describe a society that places these 'spectacular' images as central to its existence
- People live through these things rather than their own life
- Effect of consumer culture on society - people are becoming increasingly distance from each other and investing in fake realities
Plato's allegory of the cave
- A story that is a metaphor for how society operates
- In ancient greece, there was a cave where a load of prisoners were kept by slave masters, they were born in this cave and live there, ultimately stay at the bottom of the cave until they die
- The only thing the prisoners can see is shadowed cast on the walls of the caves cast by their captors and the fire - only two sources of light
- The prisoners take these images to be reality as it is all that they know
- One of the prisoners escapes as sees grass, sunlight, trees etc, tries to free other prisoners, but instead of being freed, they think he's gone mad and kill him
- The philosopher drags people from the image reality to actual reality
- Modern day interpretation - think of the shadows to be like television, news, advertising, mass media
- There is a real world out there, but there is also an image world we choose to take instruction from
- Unreality masks reality
Coke Branding
- Example: Haddon Sundblom was employed by Coca Cola in the 1930's to make its image appeal in the festive season. Wanted him to look western, happy, fun and wanted his outfit to fit in with the coca cola colours. They choose red and white and keep using this over and over again as the image that goes with their christmas campaigns, and now, this particular father christmas is the one that is known.
- This image has become the 'reality' of santa claus, as before he could have been eastern, worn green etc
- Origins in our culture are lost to be replaced by copies of copies of copies, to the point where it is almost impossible to trace the roots of these series of copies, we get lost in this world of copies and repetition
- Baudrillard is interested in how our investment in these images affect us as people, physically and emotionally
- Reality is replaced by images of reality which then make us forget about what the 'real' is, so these images change reality
Coke Vs. Pepsi
- Experiments with a brain scanner to see if people can tell the difference between pepsi and coke
- Results show we care more about the logo than the actual product, as your brain responds to the brand image
- People said they preferred coke, even when it wasn't actually coke coming out of the bottle
- Something unreal (brand) affecting real world (taste)
- Commercial brand image causes physical effects
Post-structuralism
- Baudrillard key influence: Guy Debord's theory of the spectacle is similar with Baudrillard theory of hyperreality.
- Society has become increasingly unreal, immense accumulation of spectacles
- A society that lives around spectacular images of life rather than a real life
- Spectacle is not a collection of images, but a social relation among people, mediated by images
- Trying to describe a society that places these 'spectacular' images as central to its existence
- People live through these things rather than their own life
- Effect of consumer culture on society - people are becoming increasingly distance from each other and investing in fake realities
Baudrillard
- Baudrillard is interested in how commodity culture (Capitalism) creates alternative realities, which make reality impossible to access
- Was a Marxist analysing commodity culture
- Marx wrote that commodity is essential to society as everything has a use value and an exchange value
- Exchange value is usual greater than use value as workers are exploited
- Baudrillard agreed, but thought that things have a sign value, which is the gap between the two
- Sign value has become the ascendent factor in our lives
- The sign value is all the different various things that something connotes: e.g. Rolex watch connotes success, riches - makes someone prepared to pay for it
- Advertising companies try to add sign value in their products
- Consumers invest in this sign value
- This culture is more and more fantastical and less real, more dependent on images of things rather than the reality
Simulacra and Simulation
- Theory of simulacra: copy of something that almost supersedes the original, or makes it difficult to tell the original from the copy
- Coca cola santa is a simulacra of santa - stands in for him, replaces him, a copy of something that already exists
- When a copy of something becomes so detailed that its hard to differentiate from the original, how does this effect us?
- The hyper real - condition where it is impossible to access the real again, the copy takes control over reality
- Copies and produced by copies, and simulacra effects reality, as society gets more and more developed
- Simulacra has distinct stages, becomes more difficult to tell, real fades away
Disney Land
- Walt Disney took inspiration, when doing the drawings for sleeping beauties castle, from a real castle in Prague. It is a real place, and a real style (bohemian) of architecture. He saw this, and made drawings (simulacra), adding an extra aesthetic, a fairy tale, western version. In Disney Land there is a built version, a hyper real castle. These simulacra's are spread around the world.
- The copy takes over, as people recognise the logo and the disney castle over the castle in Prague, as tourists visit this castle because it has inspired the disney castle
Christmas Markets
- The christmas markets in the UK started 13 years ago. They started because Germany was targeting people in the UK to come over to make more money. They have a german christmas market in Frankfurt. The markets were a simulacra of the German markets, but they added a bit of silliness and humour to make it seem more charming, such as with the fair grounds. These markets got really popular so now every city has a version of these christmas markets, so this is a copy of the copy in Manchester that began. The market in Birmingham has got so big that it is three times as big as the market in Frankfurt that it copied. The copy has got bigger than the original and more popular. The reality of it being a german market has been lost, it doesn't work in making you want to go to Frankfurt.
- If you did go to Frankfurt you may be disappointed with the reality as it is not the same as the fiction, you would compare
- All of our lives are lived through images of things
- Our lives are meaningless cycles of fake sign value that we invest in
New York City
- Do you think the manhattan skyline is romantic because you really think it is, or because you relate it to the films you have watched with romance in them?
- All films are simulacra's of reality
- Approaching the city through the copies of it
- Always think about what you know through images about a place
- Can we get an original idea of New York for ourselves or are we living through the myths
Ribena
- The flavour of Ribena is an artificial, sweet flavour that we have come to know as black currant, but if you taste a black currant it actually tastes nothing like this
- The copy has replaced reality
- This effects everything, from the way you think about the world
- We'd rather believe in the myth than try and find the reality
- The reality may be more bankrupt that the security of the image world
More examples
- Free Deirdre from Corrie, people got really upset about it even though it wasn't even real
- Spinal Tap, copy of already existing films in the real world, became a real band from copying others
- The spectacle of american disaster movies creates a situation where images replace reality and cause actual realities (hyper real)
- If you accept that nothing is real then what is the point? No answer to the question of hyper reality...
Thursday, 2 February 2012
Censorship and 'Truth'
[I have not included a lot of the images from this lecture as they are quite horrific and I don't want to offend anyone reading my blog!]
- How much truth are we allowed to see with photographic manipulation?
- How much truth are we allowed to see with photographic manipulation?
- Censorship in art, advertising and photography - what are we prevented from seeing?
- Indexical qualities - photography captures a scene
- What truth do you need to know about a photograph?
- Manipulation is almost a given now that it can and will happen to improve an image
- We want to believe theres more truth in an analogue photograph than a digital one
- But manipulation is not new, skills in printing effect, people have been doing this for some time
- Ansel Adams - is the skill in the way it is printed or the scene due to the time of the day and the composition
- Ansel made countless reproductions through the same negative, but by using different processing times etc in the dark room, he got different effects, made it look like it was different times in the day, etc. A deliberate and conscious decision. (Aspens)
- We can't just accept that there is truth in photography just because it does capture real moments
- May be something sinister about what is published to us - we are only seeing a certain truth, that meets someones needs - Such as what the government wants us to see
- Manipulation of what computer programmes can allow you to do (Fake adverts containing images of the twin towers etc). There are some shocking, and maybe upsetting, adverts that the use of the internet means that the masses can see.
- In a way similar to ad busters, with the way of changing an ads message using a brand
- Kate Winslet on cover of GQ magazine - famously slimmed her legs and made her taller - caused a scandal, but now it is not shocking or considered to be effecting anything by manipulating images
- Is there anything terrible about manipulating images
- Two images can be put together to make a story - photo journalists have got in trouble for providing us with unrealistic photographs, such as with added explosions, when they are supposedly showing us the truth, instead they are changing things to show us how they want us to see the story
- Does it matter whether photographs are manipulated or not?
- Robert Capa - Death of a Loyalist Soldier - is this a real image? Disagreement over this. Is it actual death, or is it symbolic of death that happens in a war.
- Many believe everything they are told and see in the media
- Are the highly charged emotive captions that can be included with the photographs also changing our opinions about the truth? Suggests a certain way of thinking. An example is this Capa image with an accompanying caption from Vue magazine
- Captions can persuade you to feel/think how someone wants you to
- Gulf war was presented in a different way - Baudrillard wrote a lot about it - Simulacram
- As a digital journalist your work can be exposed to so many people so quickly so a whole new area for communication is opened.
- Newspapers had to buy photographs from photo journalists in the war, some were never published 'The unseen gulf war' What was really going on?
- 'The gulf war did not take place' Jean Baudrillard 1995 - not like a real war, more like a simulation of what a war was like, where we could watch it as a media event in the west, became a reality when there was a bomb in London. Quite offensive to people who were fighting or harmed in the war.
- Seemed like a strategized thing that the media had a role in, rather than being a political event, but Peter Turnley's images show that it was a real war, horrific things did happen, truth about the gulf war. Turnely wants his images to be made available for the world to see as we do kind of live in a world where we don't know whats going on.
- Are these images too graphic? Does colour make images more real than black and white? Do we need to see this kind of thing? Seems too real, too true to appear in the newspapers.
- People have a right to see the truth
- Is it the duty of the photo journalist to show these things
- Do we want these sanitised versions of war or do we want the gritty version?
- An My Le - Arty representation of war - is there a place for this? Whose work is more valid? What is she trying to evoke with this?
- Censorship - what does society define as being right or wrong? What will we accept when we see it?
- Morality of advertising - quote - the role of advertising and its ability to improve your life
- How we look at moral values
- The meaning may say more about the person observing the picture than the actual picture (Cadbury flake examples)
- Its fair to say many people may have the same opinion with highly sexualised, provocative industry
- Advertisements that have been made to shock - United colours of Benetton adverts - nothing to do with selling the clothes
- Ultimately there is no such thing as bad publicity
- Advertising standards agencies may respond if there are complaints about an advert to try and get it removed, form of censorship
- Opium advert example (related to gaze and media lecture)
- Censorship in fine art - much of the imagery contains nudes - Venus, cupid, folly and time - Incest (Venus in folly's mother - folly in seen kissing his mother and touching her breasts), available to see in the national gallery. If this example was in photography it wouldn't be acceptable
- Balthus painted pre-adolescent girls in maybe sexualised ways, such as there position, the way they are dressed, suggestive, relating to vanity with mirrors - is this acceptable for us to look at?
- 14 year old girl naked on a record cover - copy of fine art example - the acceptions of these things changes
- Much of the postmodern art goes against the seriousness of art
- The miller test - to decide whether work is obscene or not - three main requirements
- Sally Mann, Candy Cingarette - when fine art starts using photography as a meaning it starts turning more provocative in terms of whats depicted in front of you - is this a young girl posing as being a young woman with a cigarette. Going against moral standards
- Immediate family - are they depicted in a way that could be harmful to the children, unacceptable way to sexualise children in society (these were her own children - is this a different term of exploitation) Do the children have a right to respond against it? Explicit.
- Tierney Gearon - series of photographs of her children in masks - raffled work of for charity
- Is this a bad thing or not? News of the world response.
- Objectification of women by men in art - female response to the gaze?
- She says that the photos are innocent and unsexual and not staged, where is the line between photography and perversion?
- The use of masks makes these images seem dirty and sinister.
- Protection of children act
- Richard Prince photograph of Brooke Shields - Have americas spiritual values been lost that you can buy this? Highly inappropriate image of a woman posed in a way much too old for her.
- Why was it allowed to be published in the first place?
- Brooke Shields was horrified by this when she was old enough to think about it and tried to readdress the values - her mother sold a picture of her naked to a pornography magazine
- Something sad about the way a woman is trying to readdress this her way to respond to it is to have herself photographed in a bikini in front of a motorbike
- How much should we believe the truth that is represented in the media?
- Should we be protected from images?
- Should we take it for granted that things will be manipulated in order to sell you things?
- Who should be protect - the artist, the viewer or the subject?
- In a way similar to ad busters, with the way of changing an ads message using a brand
- Kate Winslet on cover of GQ magazine - famously slimmed her legs and made her taller - caused a scandal, but now it is not shocking or considered to be effecting anything by manipulating images
- Is there anything terrible about manipulating images
- Two images can be put together to make a story - photo journalists have got in trouble for providing us with unrealistic photographs, such as with added explosions, when they are supposedly showing us the truth, instead they are changing things to show us how they want us to see the story
- Does it matter whether photographs are manipulated or not?
- Robert Capa - Death of a Loyalist Soldier - is this a real image? Disagreement over this. Is it actual death, or is it symbolic of death that happens in a war.
- Many believe everything they are told and see in the media
- Are the highly charged emotive captions that can be included with the photographs also changing our opinions about the truth? Suggests a certain way of thinking. An example is this Capa image with an accompanying caption from Vue magazine
- Captions can persuade you to feel/think how someone wants you to
- Gulf war was presented in a different way - Baudrillard wrote a lot about it - Simulacram
- As a digital journalist your work can be exposed to so many people so quickly so a whole new area for communication is opened.
- Newspapers had to buy photographs from photo journalists in the war, some were never published 'The unseen gulf war' What was really going on?
- 'The gulf war did not take place' Jean Baudrillard 1995 - not like a real war, more like a simulation of what a war was like, where we could watch it as a media event in the west, became a reality when there was a bomb in London. Quite offensive to people who were fighting or harmed in the war.
- Seemed like a strategized thing that the media had a role in, rather than being a political event, but Peter Turnley's images show that it was a real war, horrific things did happen, truth about the gulf war. Turnely wants his images to be made available for the world to see as we do kind of live in a world where we don't know whats going on.
- Are these images too graphic? Does colour make images more real than black and white? Do we need to see this kind of thing? Seems too real, too true to appear in the newspapers.
- People have a right to see the truth
- Is it the duty of the photo journalist to show these things
- Do we want these sanitised versions of war or do we want the gritty version?
- An My Le - Arty representation of war - is there a place for this? Whose work is more valid? What is she trying to evoke with this?
- Censorship - what does society define as being right or wrong? What will we accept when we see it?
- Morality of advertising - quote - the role of advertising and its ability to improve your life
- How we look at moral values
- The meaning may say more about the person observing the picture than the actual picture (Cadbury flake examples)
- Its fair to say many people may have the same opinion with highly sexualised, provocative industry
- Advertisements that have been made to shock - United colours of Benetton adverts - nothing to do with selling the clothes
- Ultimately there is no such thing as bad publicity
- Advertising standards agencies may respond if there are complaints about an advert to try and get it removed, form of censorship
- Opium advert example (related to gaze and media lecture)
- Censorship in fine art - much of the imagery contains nudes - Venus, cupid, folly and time - Incest (Venus in folly's mother - folly in seen kissing his mother and touching her breasts), available to see in the national gallery. If this example was in photography it wouldn't be acceptable
- Balthus painted pre-adolescent girls in maybe sexualised ways, such as there position, the way they are dressed, suggestive, relating to vanity with mirrors - is this acceptable for us to look at?
- 14 year old girl naked on a record cover - copy of fine art example - the acceptions of these things changes
- Much of the postmodern art goes against the seriousness of art
- The miller test - to decide whether work is obscene or not - three main requirements
- Sally Mann, Candy Cingarette - when fine art starts using photography as a meaning it starts turning more provocative in terms of whats depicted in front of you - is this a young girl posing as being a young woman with a cigarette. Going against moral standards
- Immediate family - are they depicted in a way that could be harmful to the children, unacceptable way to sexualise children in society (these were her own children - is this a different term of exploitation) Do the children have a right to respond against it? Explicit.
- Tierney Gearon - series of photographs of her children in masks - raffled work of for charity
- Is this a bad thing or not? News of the world response.
- Objectification of women by men in art - female response to the gaze?
- She says that the photos are innocent and unsexual and not staged, where is the line between photography and perversion?
- The use of masks makes these images seem dirty and sinister.
- Protection of children act
- Richard Prince photograph of Brooke Shields - Have americas spiritual values been lost that you can buy this? Highly inappropriate image of a woman posed in a way much too old for her.
- Why was it allowed to be published in the first place?
- Brooke Shields was horrified by this when she was old enough to think about it and tried to readdress the values - her mother sold a picture of her naked to a pornography magazine
- Something sad about the way a woman is trying to readdress this her way to respond to it is to have herself photographed in a bikini in front of a motorbike
- How much should we believe the truth that is represented in the media?
- Should we be protected from images?
- Should we take it for granted that things will be manipulated in order to sell you things?
- Who should be protect - the artist, the viewer or the subject?
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