#Defunkt magazine

[musicmags]

[maupatron]

Tu cuerpo mío

Publicado originalmente en Defunkt Magazine 

Imagen: Defunkt Magazine 

Por Mauricio Patrón Rivera

No soy más joven que ayer y desde entonces tengo dos cuerpos, el que quiero que sea y el que soy. Vivimos juntos desde pequeños. Nos vestían igual, vemos los mismos programas y siempre hemos ido juntos a la escuela.

Pero hubo una ocasión en que salimos a dar la vuelta, por la calle de Durango, un jueves por la tarde. Íbamos a la casa de nuestro mejor amigo, Luis, pero a la altura de la calle Sonora se soltó un enorme pastor alemán de la mano de su dueña, corrió directo hacia nosotros y cada uno escapó para un lado distinto. El perro alcanzó al que soy y me marcó los dientes en la nalga derecha. El que quiero ser resultó ileso, pero desde entonces se fue distanciando de mí.

Aunque en cada comida seguimos metiendo la cuchara a la boca exactamente al mismo tiempo, yo lo admiro por su escape y él me desprecia por haber sobrevivido.

Desde entonces, me miro al espejo cada día. Los pelos creciendo desordenados por todas partes, la panza indomable, las uñas mordidas y las cicatrices son todas mías. Las bromas frente al espejo, suyas. El parkourimaginario mientras nos vemos esa parte torneada del brazo es suyo; la pose con los lentes nuevos, suyos. Las sonrisas también.

Las mejores caminatas y los hombros alineados en postura de Dandi del Apocalipsis; sí, son suyas. Cuando nos arrojamos a bailar, la pista y la barra le pertenecen, yo me quedó con la camisa sudada, la cuenta y las filas en el baño.

En la geografía de mi cuerpo me pertenece la devastación, y esa protuberancia negra que me preocupa, pero nunca atiendo; tal vez un día estalle y será mi venganza contra el que quiero que sea. Y es que mi admiración por él se había terminado por completo. Pasé toda mi juventud dándole mis mejores recuerdos y teniendo que vivir lo peor del presente con los peores recuerdos. Ese cuerpo traidor que estaba atrapado en mi futuro me empezó a dar ansiedad, hasta que me di cuenta de que él también se estaba haciendo viejo.

Mi venganza no tenía que ser un estallido de sangre, ni una lesión escandalosa, solo la paciencia. El que quiero ser estaba tan ocupado viviendo en el futuro, intentando ser perfecto, que empecé a meter recuerdos de contrabando en su territorio. Le colé la vez que nos dieron una paliza en la escuela, en especial cuando nos sacaron el aire del estómago. La vez que no aguanté y me cagué en los pantalones, la vez que me gritaron "pinche putito" porque solo tenía un amigo y estábamos juntos cada recreo. La vez que nos masturbamos y me metí un dedo en el culo para ver que sentía. La vez que me emborraché y sus labios besaron los de su mejor amigo. El cuerpo que quiero que sea no pareció inmutase, creo que estaba muy ocupado estudiando y ganando dinero.

Lo empecé a sabotear llenándole el cuerpo de todas mis perversiones y exploraciones, incluso los recuerdos que más cariño les tenía, como la vez que me puse una tanga por primera vez o cuando robé mi primer vestido, porque supe que cuando él los descubriera le estallarían en la cara con la inminencia del no retorno. Así fue como me hice su pasado y el se hizo mi presente. Sé que aún me recuerda cuando se queda largo rato en el espejo y cuando al subir la media por su pierna derecha sus dedos rosan mi cicatriz de perro.

[deltana]

Very happy that artwork "Mirrored Solitude " by @delta_na is the cover art on Defunkt Magazine, Huston, Texas. Read the magazine on @defunktmag #art #cover #coverart #Literature #Magazine #artmagazine #defunkt #culturemagazine #artandculture #texasart #Huston #hustontexas #texasartgallery #usa #usaartgallery #solitude #mirror #surrealism #artecontemporanea #galleriadarte #artadvisor #artcurator #artcritic #artcollector #artdealer #magazinecover #deltaNA #artoninstagram #stunning #loveart (presso Huston,Texax) https://www.instagram.com/delta_na/p/CYOcwdaII6M/?utm_medium=tumblr

[orpheuslament]

Antigone of the South, Dante Émile

Published in Defunkt Magazine

[nonbinaryresource]

https://www.defunktmag.com/submissions

Defunkt Magazine is looking for submissions on queer pride! Deadline is March 31st!

About ECLIPSE

“I find I am constantly being encouraged to pluck out some one aspect of myself and present this as the meaningful whole, eclipsing or denying the other parts of self.” - Audre Lorde, Sister, Outsider.

People who are biracial, nonbinary, multicultural constantly find themselves not being able to fit into the mold of what our society expects of them. Michelle Zauner in the essay/memoir Crying in H-Mart speculates on her mixed-race identity following her mother’s death. Audre Lorde in the essay “Age, Race, Class, and Sex: Women Redefining Difference,” published in Sister, Outsider, talks about her inability to fit into the “mythical norm”—a knowing at the edge of our consciousness that says ‘that is not me’” when we look at what our society reveres as “normal” (i.e. straight, white, cis-het men). Rachel Charlene Lewis, a mixed-raced queer essayist-poet writes in the essay "Queering Gender, Queering Genre," published in Electric Lit, “There is, for me, validity to be found in space less easily labeled.” All of these great writers, thinkers, and creatives recognize that they do not fit on the binary scale of life and seek to break that scale. While society might reject our outsider status, within our work, all the many parts of ourselves are allowed to live freely and without judgment or definition. We want to read the parts of you that are not easily defined. We want all your facets, all your sides, all of your phases. No longer will we eclipse the parts of ourselves to better fit into a binary, we will become the sun, the stars, and the moon, all wrapped up into one.

Those chosen will have their pieces published online and in print as well as receive payment. Payment varies based on our Patreon subscriptions. Volume 10 contributors received $8.50/person and ANATOMY contributors received $13, and we expect that number to increase or stay the same for this volume.

Requirements

<4,000 words

If submitting flash (<700 words), you can submit up to 2 pieces

12pt Times New Roman or Garamond font

doc., docx.

Simultaneous submissions are accepted, but please notify us immediately when a piece from your submission is accepted elsewhere.

Submit by Mar 31

[beginningspod]

It's time for Beginnings, the podcast where writer and performer Andy Beckerman talks to the comedians, writers, filmmakers and musicians he admires about their earliest creative experiences and the numerous ways in which a creative life can unfold.

On today's episode, I talk to bass guitarist and record producer Melvin Gibbs. A native of Brooklyn, He has been called "the greatest bassist in the world" by Time Out New York magazine and was last year's winner of JazzTimes Magazine's Critics Poll in the Electric Bass category. Melvin's wide-ranging musical resume includes membership in bands ranging from the no-wave of Defunkt to the avant-jazz of the Decoding Society, to Power Tools with Bill Frisell & Ronald Shannon Jackson, Rollins Band (where he was nominated for a Grammy), Socialybrium with Rock & Roll Hall Of Fame inductee Bernie Worrell, and the Zig Zag Power Trio with Vernon Reid and Will Calhoun of the band Living Colour. As a bassist and producer, he has worked with Femi Kuti, Caetano Veloso, dead prez, David Byrne, Arto Lindsay, and Sonny Sharrock. He is currently a member of the band Harriet Tubman, who The New York Times twice called "The Best Jazz Performance" of the year, and his latest album is 4 + 1 equals 5 for May 25, an EP he recorded reflecting on the murder of George Floyd, was just released a little while ago, and it's great!

(Photo by Becky McNeel)

I'm on Twitter here and you can get the show with:

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[craigfishbanewriter]

New fiction in DeFunkt Magazine.

[all-rock-and-roll-is-homosexual]

Good morning to all of you, I thought I might finally make some scans from this magazine. Pictured here are the front and back covers of ZigZag's August 1981 issue.

Cover stories include Black Uhuru, Killing Joke, Coati Mundi, Iggy Pop, Ronny Dollar, Defunkt, and the Pretenders.

[ulezak]

Putiferio (poltergeist serenade) - chapter 1 (don’t feed the animals)

Internet Archive (download & stream) - Mixcloud - SoundCloud - HearThis

a satanic (aural) comedy courageously mixed/blended & recorded live by maux (aka mauxuam) during the 20/21/22/23 august 2017 at the Ormus Lounge in Frank Zappa Straße, Marzahn.DDR/Berlin.EU. calling the ghosts: Daevid Allen / Negativeland / Alan Vega / Leonard Cohen / Prince / Lucio Battisti / Fabrizio De Andrè / Frank Zappa / Kim Fowley / Snakefinger / Muslimgauze juiced, cut & baked with trust at Sandokan Bay studio incidentally dislocated in Frank Zappa Straße Marzahn.DDR on the early days of september 2017 during the full moon phase .. while desperatly skint sinking too close to the bone .. dedicated to my ghost … forever longing for the Pearl of Labuan.

total play time: 6 hours 13 minutes 34 seconds

TRACKsLISTing: 001 - Johanna M. Beyer : Music Of The Spheres [An Anthology of Noise & Electronic Music vol.2 - 1938] 002 - Vincente Price : How To See Ghosts or Surely Bring Them To You [A Hornbook For Witches, Stories and Poems For Halloween - Caedmon Rec. 1976 - LA]003 - Sun Ra : There Are Other Worlds (They Have Not Told You of) [Lanquidity - 1978]004 - Franco Battiato : Il Silenzio del Rumore [Pollution - 1972 - Sicilia]005 - Lucio Battisti : La Collina dei Ciliegi [Il Nostro Caro Angelo - 1973 - Roma]006 - Mono Pause : Come Into The Future [America The Beautiful - Reccomended Rec 1994]007 - Throbbing Gristle : Convincing People [20 Jazz Funk Greats - Industrial Rec. 1979 - London]008 - The Residents : We Are An Happy Family [Commercial Album - Ralph Rec. 1980 - SF]008 - Vampire Rodents : Bosch Erotique [America The Beautiful - Reccomended Rec 1994]010 - Kim Fowley : 1983 - Don't Feed The Animals [Snake Document Masquerade - Island Rec. 1979]011 - Kevin Ayers : Song From The Bottom Of A Well [Whatevershebringswesing - 1974 - UK]012 - Van Der Graaf Generator : Necromancer [The Aerosol Grey Machine - 1969 - London]013 - W. Biggers : Underdog [Television's Greatest Hits vol.2: More From The 50’s & 60'Ss - ? - Hollywood]014 - Wiseblood : Grease Nipples [PTTM - 1991 - NY]015 - The Swingle Singers : Country Dances [The Swingle Singers - Stax Rec. 1973 - Chicago]016 - The Flying Lizards : Mandelay Song [The Flying Lizards - Virgin Rec. 1979 - London]017 - Tuxedomoon : Ninotchka [Divine - Crammed Rec 1982 - SF/Bruxelles]018 - Tomita : Golliwog's Cakewalk [The Newest Sound of Debussy: Snowflakes Are Dancing - 1974 - Japan]019 - Gershon Kingsley & Leonid Hambro : Summertime [Switched-On Gershwin - 1970 - France]020 - The Pointer Sisters : That's How I Feel [The Pointer Sisters - 1973 - ]021 - Frank Zappa : Let Me Take You To The Beach [Studio Tan - 1978]022 - Laibach : Take Me To Heaven [We Come In Peace - Mute Rec 2012 - Lubjana]023 - Bud Tutmarc : My Beautiful King of Kings [Sacred Hawaiian Melodies - ? - Hawaii]024 - Kostas Bezos Hawaiian Orchestra : Ta Aspra Sta Vouna / The White Bird In The Mountains [1930 - Rembetika - Greece/Hawaii]025 - Wilmoth Houdini : Blow Wind Blow [I Dont Feel At Home In This World Anymore 1927—1948 - ?]026 - Leader Cleveland : Babylon Is Falling Down [God Give Me Light 1927-1931 - Missisipi]027 - John Lurie & Tom Waits : World of Adventure [Fishing With John - 1998]028 - Max Steiner : King Kong March [King Kong OST - 1933 - Hollywood]029 - Material feat. Killah Priest : Temple of The Mental [Intonarumori - Axiom 1999 - NY]030 - Lesego Rampolokeng & The Kalahari Surfers : End Beginnings [End Beginnnings - Reccomended Rec 1993 - Soweto]031 - Allen Ginsberg & Hal Wilner : Ode To Failure [The Lion For Real - ? ]032 - Bee Gees : Lay It On Me [Mythology -  ? ]033 - Iceberg Slim : Broadway Sam [Reflections - 1994]034 - Douglas Adams : Life Is Terribly Unfair [The Hitchhiker's Guide To The Galaxy - BBC ? - London]035 - Snakefinger : There Is No Justice In Life [Night of Desirable Objects - Ralph Rec. 1992 - SF]036 - VVV (aka Alan Vega) : Resurrection River [Resurrection River - ? - NY]037 - Tino Contreras : Santo [Astonishing Stuff! - 1966]038 - Zelwer : Evviva l'amore [The Gods Are Angry / Made to Measure vol.36 - Crammed Discs ? - Bruxelles]039 - Tin Hat Trio : Width of The World [Helium - 2000]040 - Lindsay Cooper : Stitch Goes The Needle [Rags - 1980]041 - Exuma : Seance In The Sixth Fret [Exuma - 1970 - Bahamas/NY]042 - Nurse With Wound : Black Teeth [Huffin' Rag Blues - 2008]043 - Wiseblood : Hey Bop A Ree Bop [PTTM - 1991 - NY]044 - The Church Universal and Triumphant : Invocation for judgement against and destruction of rock music [The Sounds of American Doomsday Cults - 1984 - US]045 - Snog : The New Cocksucker Blues [Babes In Consumerland - 2013 - Australia]046 - Black Flag : Family Man [Family Man - 1984 - US]047 - Banta : Banta Trance Speech 1948 [Okkulte Stimmen - Mediale Musik: Recordings Of Unseen Intelligences 1905-2007 - Ubuweb 2016 - Germany]048 - Amanda Lear : It's a Better Life [Diamonds For Breakfast - 1980 - Italia]049 - Diana Ross : No One Gets The Prize [The Boss - 1979 - US]050 - Adriano Celentano : Happy To Be Dancing With You [Geppo Il Folle - 1978 - Italia/Milano]051 - Defunkt : We All Dance Togheter [Defunkt - 1980 - NY]052 - Earth, Wind and Fire : Moment Of Truth [Earth, Wind and Fire - 1971]053 - Prince : Family Name [The Rainbow Children - Parsley Park 2001 - US]054 - James Chance & The Contortions : Dish It Out [No New York - 1978 - NY]055 - The Pop Group : We Are All Prostitutes [We Are All Prostitutes - Rough Trade 1979 - London]056 - Rip Rig & Panic : It's Always Tit For Tac You Foolish Brats [Storm The Reality Asylum - Virgin 1982 - London]057 - Kim Fowley Jr. : Fred Loves Betty [Son of Frankenstein - ]058 - Geza X and The Mommymen : We Need More Power [You Goddam Kids! - 2002 - LA]059 - Germs : What We Do Is Secret [G - 1980 - LA]060 - Bad Brains : Pay To Cum [Bad Brains - 1982 - NY]061 - King Krimson : Happy With What You Have To Be Happy With [The Power To Believe - 2003 - London]062 - Butthole Surfers : The Lord Is A Monkey [Electriclarryland - 1996 - Seattle]063 - Frank Zappa : I'm So Cute [Sheik Yerbouti - 1979 - US]064 - Captain Beefheart : Floppy Boot Stomp [Bat Chain Puller - 1976 - US]065 - Pere Ubu : Rhapsody in Pink [The Art of Walking - 1980 - NY]066 - Snakefinger : The Picture Makers vs. Children Of The Sea [Greener Postures - Ralph Rec. 1980 - SF]067 - Superspirit : We Belong To The Cosmos [Permission To Come Aboard - Tummy Touch 2009 - NY]068 - Rip Rig & Panic : Leave Your Spittle In The Pot [Storm The Reality Asylum - Virgin 1982 - London]069 - David Thrussell : Turn Muzak On It's Head [The Voices of Reason - 2001 - Australia]070 - Robert Ashley : The Bar (side B) [Perfect Lives (The Bar) - Lovely Music 1980 - NY]071 - Harry Hoogstraten : The Do-Dah [K7 Baobab Magazine issue #1 - 1978 - Italia/ ]072 - The Residents : The Moles Are Coming [Intermission - Ralph Rec. 1981 - SF]073 - Akira Mitake : Can't Touch, Even Watch [Out Of Reach - 1983 - Tokyo]074 - Eddy Detroit : Seed of The Oyster [Jungle Captive - 1997]075 - Roger Ruskin Spear : Drop Out [Trouser Freak - 1972]076 - Kim Fowley : Bubble Gum [Bubble Gum - 1967 - US]077 - Mojo Nixon & Skid Roper : This Land Is For Everyone [ - US]078 - Violent Femmes : I'm Not Done [We Can Do Anything - 2016 - US]079 - Tom Waits : Step Right Up [Small Change - 1976 - US]080 - Damon : The Road of Life [Song of A Gypsy - 2009]081 - Charles Manson : Spaceman [Commemoration - 1995 - US]082 - Danielle Dax : When I Was Young [Dark Adapted Eye - 1988 - NL]083 - Edith Piaf : Non, Je Ne Rgrette Rien [Je Ne Rgrette Rien - 2011 - France]084 - Fabrizio De Andrè : Il Gorilla [Volume 3 - 1970 - Genova]085 - Donna salentina : E Mujerima Pe La Musica Pazza Pazza [Musiche Tradizionali del Salento -  - Salento/Italia]086 - Carrettiere del Salento : Canto del Carrettiere [Musiche Tradizionali del Salento -  - Salento/Italia]087 - Men's Group From Vlore : What Have Ianina's Eyes Seen ? [Albanie: Vocal And Instrumental Polyphony - 1988 - Albania]088 - Francois Muduya : Chant Avec Cithare [Burundi : Musiques Traditionnelles Recorded by Michel Vuylsteke - 1970 - Burundi]089 - Diamanda Galas : I Put A Spell On You [ - Ellakis]090 - Nurse With Wound : Devil Is This The Night [Dark Fat - 2016 - US]091 - X-TG feat. Antony : Janitor of Lunacy [Desertshore / The Final Report - 2012 - London]092 - Lindsay Cooper : The Chartist Anthem [Rags - 1980]093 - Leonard Cohen : First We Take Manhattan [I'm Your Man - 1988 - Canada]094 - Fred Frith : Too Much Too Little [Cheap At Half The Price - Reccomended Rec 1983]095 - Brion Gysin : From Here To Go [10%: File Under Burroughs - 1996 - NY]096 - Queen : Flash [Flash Gordon OST - - London]097 - Art Bears : Freedom [The World As It Is Today - Reccomended Rec 1981]098 - Robert Wyatt : At Last I Am Free [Wanna Buy A Bridge? - Rough Trade 1980 - UK]099 - Rufus Zuphall : I'm On My Way [Phallobst - 1971 - Germany]100 - Kingdom Come Arthur Brown : Simple Man [Galactic Zoo Dossier - 1971 - US]101 - Edith Perrin : When I Die [1941 - somewhere]

[raygoodwinphotographyjournal2]

PHOT201 Weird & Wonderful ‘Alienated Spaces’ - Evaluation

The time has come again to close off another project with an evaluation of said project. In this evaluation, I shall detail how it was started, how it progressed, what went well, what didn’t go so well, what could of been improved, how it could of been improved and thoughts about the project as a whole. The evaluation will also cover technical aspects, shoots, research and anything else covered in the project.

Alienated Spaces began as an amalgamation of past work and a project to do over the summer period of 2018. It was highly influenced by Guy Debord’s Society of the Spectacle, and Mark Fisher’s Capitalist Realism - Is There No Alternative?. Alienated Spaces was heavily guided by a majority of contextual information about the society that we live in, and the feelings of alienation within said society, as well as my own personal alienation to society and the people it creates. I wanted to convey this feeling of alienation and estrangement of living in a capitalist society by taking photographs of the mundane banality of the everyday. These scenes/spaces are often overlooked areas of towns and cities which usually don’t garner a secondary glance. This managed to sustain my creative endeavours until I started college again in October 2018. This is where Alienated Spaces was implemented to Weird & Wonderful, and made to fit the brief. I was adamant to work on this project, as I already had a body of work behind it - this meant that I had to make the project fit the brief but finding out how Weird & Wonderful fit amongst a project mainly propped up by alienated thoughts about a western capitalist societal system and dehumanised urban spaces. I managed to fit in the ‘weird’ as my own weltanschauung; or at least interpreted that way. The ‘wonderful’ was harder to fit. My interpretation with that was the wonderful nature of societies expected values of people within the society: having a nice car, a nice job and being spectrally subjugated by the system.

Once the project was implemented into PHOT201, there was some experimentation within the early stages. I originally wanted to create a cinematic aesthetic to my photographs. And, for this I used a modified medium format folding camera, that was able to shoot 35mm film in a similar letterbox aspect ratio to a Hasselblad Xpan - creating a 2:1 (or similar) image that replicated the cinematic letterbox images of motion pictures. This however, was fraught with issues. Firstly, the construction of the modifications on the camera caused light to bounce around inside of the camera, causing light to hit the film where it wasn’t meant to hit. Secondly, I had a large issue of my developer at home deciding to be defunkt. Originally, this was thought of a fixer issue, so I had bought some fresh fixer, thought it was the fixer’s issue and thrown that away. However, I made another fresh batch and the same issue arose. So the developer was the main culprit for a number of rolls being destroyed. I moved away from that and decided to challenge myself and shoot my images using a medium format camera that utilised the 6x6 format. I have never been a massive fan of shooting 6x6, as I have always found square images awkward to compose and shoot with. I managed to come across and purchase a Mamiya 6 IV for a decent price. This was certainly a turning point for Alienated Spaces, as it granted me an affordable way to shoot medium format for a project that I was initially excited for shooting. I also chose to shoot Fujifilm Pro 400H, as the coolness managed to fit the visual aesthetic of Alienated Spaces, and that I have never been keen on Kodak Portra 400’s overly warm tones. I can appreciate a good Portra shot, but it’s just never worked for me. After shooting a roll or two through the Mamiya, I realised that it was a winning combination for me. I was able to shoot extremely high quality negatives at a relatively small cost. I also felt that shooting 35mm and digitally just didn’t fit what I was doing. I initially shot early on in the project with my Canon 5D, but it somehow didn’t feel right to shoot the project digitally. So I decided that this project should be totally analogue based, as this would pressure me to think about the shots I was taking and make me realise that each photograph actually costs me money and time. This would eventually work in my favour, and grant me with a selection of images that I feel represent my project as a whole (although some 35mm film was shot at the end of the project).

The main portion of the shooting actually went rather smoothly, apart from two or three underexposed frames. Of course, the early portion of the project was haunted by failure and a lack of success, but I am thankful that these were the only failures and that they were fairly early on in the project. However, the shoots utilising the Mamiya were certainly the most fruitful in terms of images. I have gained a lot of images within my repertoire, and also gained some knowledge into composing 6x6 and shooting medium format as a whole. I would certainly use the Mamiya 6 again for future projects, despite its idiosyncratic operation. The Mamiya is rather fiddly and awkward to use, but when one gets used to how it works, it becomes second nature. I was surprised by the Mamiya’s optical performance, seeing as it was made during the time Japan was still occupied by allied forces. And, I was also surprised by Fujifilm Pro 400H’s tonality and exposure latitude. This gave me a lot of room to overexpose where it was needed, so I could gather some shadow detail whilst maintaining details in the highlights. I always made sure to overexpose by at least a stop or two from what the meter was reading, just to be on the safer side of exposing the film properly.

The main piece of research for this project was the work of Tom Westbury. I have been a fan of his work for a while, and the way he renders space is certainly something that I look up to, and wish to create. Westbury manages to render the banal and mundane non-spaces into an aesthetically pleasing and intriguing set of images. But, Mark Wilson was also a key piece of influence early on in the project. I was inspired by his work with The Last Stand, and especially by his talk/tutorial. I was also inspired by Anthony Haughey’s Settlements. Haughey managed to document a pertinent political/economical issue that certainly relates to capitalist greed, whilst in turn creating a photographic body of work that relates to Alienated Spaces’ inherent dehumanised ethos. All of these photographic artists are relevant to my craft in one way or another. Westbury features the aesthetic qualities, Haughey features aesthetic fulfillment/contextual ideology and Wilson features aesthetic and professionalism based fulfillment.

The book is the finale of PHOT201. I originally intended to create a zine with a graphic design inspired cover. I have always had an affinity for a certain graphic design style that is often used in poster design and architectural books/magazines. However, I felt that the zine aesthetic and graphic design didn’t fit the ethos of my project whatsoever. I didn’t feel as if the handmade creation of the zine fitted with my project, as I feel that it’s more intune with more artistic and homebrew projects. Due to this, I felt that using the services of a third party publisher would of been a better option - plus I would get a professional looking photo book instead of a badly made zine, which would certainly look amatuer on my behalf. For this, I used the services of Bob Books to create my book. We did have a representative from Bob Books explaining their services to us, and I liked their professional print quality and competitive prices. I also liked that I am able to fully publish the book with Bob Books and sell what I have created through them. To create the book, I used their Designer software. This was an incredibly easy and intuitive way to create a book. At first, I was rather reluctant and daunted with the task of actually putting a semi-coherent book together. But, thankfully the software was easy to use, and once I had thought how the narrative would of translated onto paper, it wasn’t a bad a expected. Once the book had been ordered and delivered, I was able to hold the actual product in my hands. Whilst there were a few issues with that are out of my control, for the most part, the book was a resounding success. The print quality was outstanding, the paper stock has a nice tactility. The book also took around 9 days from ordering to arriving on my door, which is certainly a respectable amount of time to print and ship a 28x21cm 30 page photo book. I knew that it would take over a week to get the book in my hands, so managing my time was imperative. Thankfully, I was able to keep my work at a steady pace across the majority of the project, apart from when it came to the Christmas break. After I had finishing shooting (and shooting slightly differently in London), I had lost my interest in the project entirely. When I ordered the book, the interest dropped to a low and I didn’t entirely care about the project anymore. I felt that the book had been ordered and everything had been shot, so my intrigue within the project disappeared.

What could I of done better with this project, and how could I improved upon it? Firstly, I would of read much more into the contextual side of my project. Whist the main portion of this project was contextually based, I would of liked to of delved deeper into the depths of capitalism, and alienation within a modern society. The two main influences of Debord and Fisher are certainly cornerstones of my work, but I feel that some more reading wouldn’t of gone amiss. Perhaps some further reading into Karl Marx or Fisher’s views on Neoliberalism could of been fruitful for this project? I would of also of liked to shoot much more medium format film, and explored the more architectural side of the work (see the last two shoots). This project was born out of a mix of projects and at a time when I wasn’t in the best of mindsets. The project was spawned from my own mental state of being depressed and alienated within my contemporaries, and I no longer feel this anymore. So, for a long time I have been shooting for a project and trying to convey a feeling of which I don’t totally feel anymore. Towards the end of the project, I realised that I enjoyed shooting architecture more than the non-spaces I had been documenting for a couple of months. Whilst I would like to continue on with this project, I feel that it should be renewed or worked upon if I am going to use it as a base for PHOT202. I could potentially do this by focusing more on the architecture of the space, and/or explore the interiors of said architecture. But, I am not sure at this moment in time if the continuation of Alienated Spaces will continue as that - the theory can stay the same, but I feel that level of being alienated just doesn’t fit me or my work anymore. Meaning, I can still create work that underlies the basic premise of capitalism being estranging and inescapable, but not implement my own feelings of being alienated within my contemporaries. I feel that reading more into the capitalist system (re-reading George Monbiot’s Captive State could be in order) could offer me a new perspective on my worldview and my work as a whole. This would ultimately give me a wider perspective to view the world with and in turn improve what I can create - without a decent understanding of the theory, how can one’s work stand out from the crowd and be exemplary, instead of a half baked execution of a photographic body of work with very little theory to back up the ethos?

In reality, I have become alienated from a body of work that is solely based around personal alienation, purely on the basis that I no longer feel alienated within a societal system which is inherently alienating to its occupants. Whilst I do enjoy what I have created, I feel that the driving force in the work has been lost as I have progressed through time; despite it being a relatively short space of time from August 2018 to January 2019. This is mainly due to changing how I view the world around me and a massive improvement with my mental wellbeing/mental health. But the main epiphany came when I was in London, taking more architecture inspired imagery and realising that it fitted me more than alienating malaise ridden non-spaces.

PHOT201 was a real learning curve for me. It started out as a personal project, that was eventually forced into the mould of the brief. The beginning of the module was fraught with technical chemical related issues that forced me to rethink what I had to do, and how I had to do it. Without failure, one isn’t able to progress with their work and make ample improvements upon it. Thanks to the early failures, I was able to work around them and create a body of work that I am proud to call my own. I was then able to experiment and improve my skills with medium format film, shoot a film stock that I have never experience and shoot a camera that I have never experienced. Those failures made me explore past my comfort zone and use a format which is usually rather alien to me, and create some work from it of which I rather enjoy. Whilst I did enjoy shooting these non-spaces, I felt it hard to convey a feeling which I no longer felt within the work. I do like documenting these areas of non-space, but it’s difficult to phone-in an ethos into a body of work that isn’t totally felt within the documenter. This project shall continue, but it shall take a different turn from alienation within a capitalist society, and most likely be related to the architecture of the capitalist society. I feel as if I am jumping the gun slightly and planning a project before one finishes, but I feel it’s necessary to place a basic underpinnings of something before fully committing to it’s ideology. Just like all of the previous projects undertaken before hand, Alienated Spaces will just serve as future inspiration for projects that haven’t happened yet, and just another project under my name.

[musicmags]

[violasbabygirl]

She and Peter Legat ( Leader and Founder of Count Basic) we're inducted into the Wall of Fame in Austria. 🏆💃Her name is Kelli Sae. Get to know her 👉 @kellisae. "The depth and realness of her performance and songwriting is undeniable and downright intoxicating. You're pulled into Sae's world within seconds..." @billlboard Magazine #vocalist #songwriter #producer #countbasic #incognito #defunkt #dancingwiththestars #ropeadope #newyork #austria #puertorico #nativeindian #music #latin #soul #randbmusic #jazz #awardwinner #international

[expatmichael]

This shot from 1995 was from when I posed in the buff in San Francisco for Heavy Duty magazine. A now defunkt bear 🐻 magazine. #bear #cub #heavyduty #sanfrancisco #1995 #thirties #exclubkid #nineties #goldyloxxx #flashback #throwback (at San Francisco, California)

[orpheuslament]

antigone of the south is getting published in defunkt magazine!!! look at me being a real poet & shit

[violasbabygirl]

She and Peter Legat ( Leader and Founder of Count Basic) we're inducted into the Wall of Fame in Austria. 🏆💃Her name is Kelli Sae. Get to know her 👉 @kellisae. "The depth and realness of her performance and songwriting is undeniable and downright intoxicating. You're pulled into Sae's world within seconds..." @billlboard Magazine #vocalist #songwriter #producer countbasic #incognito #defunkt #dancingwiththestars #ropeadope #newyork #puertorico #nativeindian #music #latin #soul #randbmusic #jazz #awardwinner