#Beyondtheframe

[mart-singer]

CL3S-23, acrylic, paper and wood on frame, 15.4 x 11.3 x 1.2 inches. CL3S-23, acrylique, papier et bois sur cadre, 39,2 x 28,8 x 3 cm.

[reflections-in-t]

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らじる★らじる(NHK)の聴き逃し配信で二度聴きしている「ヴォイスミツシマ」

やはりすばらしい番組だとおもう

3/17のゲストは作編曲家・ピアニストの渋谷毅

Jazz界のヴァーチュオーゾとでもいえそうなこの音楽家に対しても満島ひかりの屈託のない明るさと粒立ちゆたかな言葉は歯切れよく

今回は渋谷毅の生演奏も聴ける

とくに2曲目のbeyond the framesはこのうえなく美しく、目の前での演奏に彼女自身もたぶん、泣いている

ゲストとの対話をここまで解像度高く成立させ聴き手をも満たしてくれる番組は

ほかにはない

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※らじる★らじる聴き逃し配信／3月24日まで聴取可能

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#ヴォイスミツシマ

#満島ひかり

#NHKラジオ第一

#日曜日15時5分

#生放送

#渋谷毅

#BeyondTheFrames

#らじるらじる

#聴き逃し配信

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[hannahmatthewswestminster]

The Food Matrix

this is one of the most interesting talks i have ever seen on veganism and the meat industry. it explains it in such a relatable and easily understandable way, with a twist that makes you think about and deep the whole situation. he highlights how the culture we live in, controls our outlook on eating meat, and what meat is acceptable for us to eat and what isn’t. for example, in our culture it is unacceptable for us to eat cats and dogs. we are taught this from birth through our culture, but then at the same time we are also taught that slaughtering animals such as cows and pigs, is acceptable

“you can be manipulated like that *clicks fingers* to believe in something that goes against your natural instincts. if you say it enough times you convince yourself that that’s the truth. if you’re told the lie enough times, it becomes part of your reality and if enough people are taught that lie... well now it becomes part of the culture. and if that culture then passes that misinformation along to the next generation, well now it becomes tradition. and what we have to remember is that, just because we have a tradition, that doesn’t mean its morally acceptable. tradition and morality are not always the same”

we had traditions such as slavery, which aren’t around today because they weren’t morally acceptable. just because something is a tradition that doesn’t make it okay, and mean that we shouldn’t do what we can to change something we view as morally incorrect “as we evolve as a culture, so do our traditions”

“the matrix is a story, it’s a story when told enough times to enough people, it becomes part of that culture, it becomes the tradition. and this story is being told over and over. everyday”

he then goes on to use an example of the images you see on milk cartons, and how they show happy cows living on a farm, or just a happy cow in general. that is the matrix, it is showing us and giving us the concept that something is a certain type of way when really in reality it isn’t. “the reality is far more disturbing... this is the lie we tell ourselves about where our food is coming from”

[fionaharnett]

Joachim Schmid:

[pinkcatlove]

ALTER

ctto 💖

[alessandracardenas]

Final one

[jade-chopra]

Nan Goldin

I’ll be Your Mirror, 1996

Jimmy Paulette and Tabboo! in the bathroom, NYC, 1991

Joey in front of my mirror, Berlin, 1992

The two images above are taken from Nan Goldin’s I’ll be Your Mirror, published in 1996. This work looked at the party scene in Boston and New York, drug misuse and abuse, hardships, the AIDS crisis of the time etc. This book and its collection of images really capture the time and the people Goldin met whilst working. 

I want to capture my images with a similar style, raw yet full of detail. I need my narrative to be clear but not forced onto the viewer. The narrative has to be consistent and flow through my whole body of work, just like Goldin achieves. 

[beckc86x]

Forgot to mention our Framing workshop we did. We was introduced to some of the equipment in the woodwork area and we got the chance to try out some of the equipment. We didn’t really get chance to produce frame and although feel for this term I wouldn’t have chance to make my own it. It has opened my ideas to different styles and light boxing ideas I could use for my final year. For time management I would of like to of done more work on my project as I only have one day week that I get to come into uni.

[harry-mortlock]

Now my project has come to an end as we have now installed our pieces of work in the gallery space. Very happy with its outcome and can already notice the fading process taking place!

[elsaruffieux]

Submission - Gallery installation

6th January 2020 - all tutors

We all went to hang our work in the gallery space. I made the decision not to add text for the reason I explain in my previous post.

I had a small issue when I hand my work. I didn’t anticipate the fact that my work was going quite hight and that the wall wasn’t really high so the top images part of my work are very close to the end of the wall which doesn’t really look pleasing for the eyes. And is very close to the lights to which doesn’t make looking at it really easy.

I should have taken an image before the lights were turned on probably.

[courteneyf98]

Kurt Fletcher

“A photo with originality and character means a lot to me, you never know how the film is going to react and that’s part of the magic for us”

1/12/19

[mart-singer]

2T1R-22, acrylic, canvas and wood on frame, 10,2 x 8,9 inches + preparatory sketche and test color. RRN-22, acryilique, toile et bois sur cadre, 26 x 22,5 cm + dessin préparatoire et essai de couleur.

[my-claudia-cantarini]

In contrast to analog photography, which is tonally continuous, digital photography is broken up into discrete steps, subdividing the visual field into a grid. One of the predominant qualities of digital technology, it is argued, is its ability to produce imagery that has no immediate relation to the material world. Until it is printed, made material, the image is immaterial and ephemeral. This means that the image matter itself is infinitely malleable, freed from the restrictions of the analog world and inserted into the exploratory, experimental, and potentially infinite digital realm. The image becomes “information” in the computer. …

Sabine Kriebel - “Short History” p.39

I came across this quote today, used by one student (Denise) during her seminar presentation. 

It really struck me as it essentially summarises the whole meaning of my project for Beyond the Frame ( DigitalDressing-Up), especially the phrase “The image matter itself is infinitely malleable, freed from the restrictions of the analog world and inserted into the exploratory, experimental, and potentially infinite digital realm. The image becomes “information” in the computer…”

This is precisely what I am trying to represent in my project when I decide to upload hundreds of images on Instagram and make a “video simulation” of how people are scrolling it. It is exactly the point I am making that it does not matter how much effort, planning, settings, equipment, time, creativity the artist/photographers put into making an image/piece of art… because from the moment that picture gets uploaded on Instagram becomes EPHEMERAL, IMMATERIAL, AN INFORMATION (in the computer).

[hannahmatthewswestminster]

extinction rebellion protest, 7th october 

this was the first protest i had ever attended, making it so inspiring. they were protesting about the environment, climate change and the extinction of our species, an issue very close to my heart. all of us had come together, to make a change and make the government listen to issues that concern us. however, it was a huge shame when the protest got shut down as i felt like it was a denial of our freedom of speech, as it seemed as though we only have the freedom to speak when it is something they will allow us to speak about

they need to tell the truth

it was a shame that my photographs from this protest were lost when my bag was stolen, as when i went back to take more the protest had been abruptly ended and i lost the opportunity to re-capture the protest. i had already visited twice so, two lots of photographs were lost :( the images that were still on the roll in my camera, are seen above. i should of used film with a higher ISO, as these were shot on 200 but it was an overcast day, so they were underexposed and green

[fionaharnett]

Carmen Winant | How to Remain Human at MOCA Cleveland

[issyphoto]

Shape of Light Exhibition, Tate Modern

This was one of the most inspiring exhibitions I had been to in quite a while, this exhibition has really opened my eyes to new ways of executing photographic methods. I had recently been questioning what photography is to me and how it can be considered a skill or how photographers can be considered as talented as a painter perhaps, but this exhibition with all these beautiful and unique abstract forms of photography has really inspired me to try quite literally everything I’ve seen here, I came for inspiration for one project and left with several.

An artist who really stuck our for me was Peter Keetman, who had a series entitled, ‘Light Pendulum Oscillation’, an intricate and somehow almost mechanic dance of light exposed into a crisp photograph. A significant part of this series is the contrast with the more concentrated pieces of light creating some incredibly bright eye-catching areas and some equally beautiful faded and spaced out, creating mysterious almost murmuration-esque patterns.

Another incredibly beautiful form of abstract photography that I found was the use of chemigraphs, these create incredibly abstract and beautifully coloured and ironically fluid flowing images. The creation of chemigraphs brought together two different artistic forms of painting and photography, the chemigraphs presented within the exhibition are used without a camera (so I suppose does this still class as photography or is it painting with chemicals or just another medium altogether?) they are created through using photographic chemicals on light sensitive photopaper. The outcomes are entirely unique although different effects can be achieved by changing the light that hits the paper or many artists have used materials such as wax, polish or varnish to block chemical reactions, creating the most beautiful and unexpected abstract ‘photographs’.