#ben burbridge

[webionaire]

t We Don’t Talk About When We Talk About Photography and Participation

Ben Burbridge & Anthony Luvera

Pages 351-363 | Published online: 20 Aug 2019

Download citation https://doi.org/10.1080/17514517.2019.1640499 CrossMark Logo CrossMark

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Abstract

This conversation takes the work of artist Anthony Luvera as the basis for a broader analysis of participatory photography in the context of contemporary art. Where existing literature typically focuses on the ethics of participatory production – considering the amount of “agency” afforded to participants in any particular project – the discussion focuses instead on relationships between funders, facilitators, artists, audiences and participants in more material terms. It aims to open up an understanding of participatory photography, reflecting on the issues of financialization and labor typically overlooked in existing analyses and reflecting on some of the reasons for that omission

[itsalycenotalice]

Five-0 Redux: Seeking retribution a painful task for McGarrett, team

By Wendie Burbridge, Special to the Star-Advertiser January 5, 2019 Updated January 5, 2019 12:56pm

Usually, after someone has experienced the death of a loved one, people tend to go through the proverbial stages of grief — denial, anger, bargaining, depression and acceptance. They may skip a step, linger on one for a long time, and sometimes add a few extra stages of their own. More often than not, anger tends to stick around the longest and sometimes it is what fuels the rest of the steps into action. In this week’s episode of “Hawaii Five-0,” McGarrett (Alex O’Loughlin) is dealing with the loss of his father figure Joe White (Terry O’Quinn) and going through his own version of the stages of grief.

Written by Matt Wheeler and David Wolkove, this week’s episode was a wrap-up of the fall finale, “Pio ke Kukui, Po‘ele ka Hale” (“When the Light Goes Out, the House Is Dark”), in which Joe and four other members of their former SEAL team, were targeted and killed. The episode starts with Danny (Scott Caan) traveling to Montana where McGarrett has been holed up for a month with Catherine (Michelle Borth), who has come to help him devise a plan to avenge Joe’s death. Directed by the legendary Carl Weathers, who also guest-starred on “Magnum P.I.” in the second episode of the show’s freshman season, a very angry McGarrett basically tosses out the other stages of grief and has added one of his own — retribution. Perhaps seeking to avenge the death of Joe and his SEAL brothers can be seen as a type of acceptance, which is supposed to be the last stage of the grieving process.

The title of this episode, “Hala i ka ala hoʻi ʻole mai” (the Hawaiian phrase is misspelled in the CBS press release), means, “gone on the road from which there is no returning.” It is a olelo noeau, or Hawaiian proverb and poetical saying, and to Hawaiians, the saying is a metaphor that simply means, “death.” In both the main plotline (McGarrett’s plan to avenge Joe) and in the case of the week (a silly story about bones being found in a public storage space) every guilty party faces that road. For “Hawaii Five-0” the title also seems to imply the idea that once a person heads down a certain path — like murder or vengeance for instance — there is no turning back.

JAMES BOND, A GENTLEMAN AND AN OLD FLAME

Once Danny arrives in Montana and finds McGarrett a bit hardened and in combat mode, he inquires how his friend has been doing since Joe died. When McGarrett says he didn’t have to come, Danny tells him that is what family does — they are there for each other. When he sees Catherine, he seems happy that she seems to be helping McGarrett through his grieving process.

But McGarrett tells him that it is not what Danny thinks, it’s not what any of us thought really. They are not playing house. They have been busy forcibly extracting information from Omar Hassan’s (Ben Youcef) lawyer, Gregers Thomsen (Andrew Grant), who set up the hit squad who came for Joe and McGarrett. Catherine might be McGarrett’s old flame, but she certainly has used her CIA ties to help him. She seems to be able to stomach the force McGarrett has to use to persuade Gregers to give up Hassan’s location. It’s bloody and brutal, and a bit out of the ordinary for Five-0.

But this is not a Five-0 op as McGarrett makes it clear to Danny, and they are not going to be alone. Perhaps he knows this will be more brutal, more dangerous than anything they have done before. He seems to want to protect Danny — not because Danny can’t hold his own in this fight — but because McGarrett has already lost so much, and to lose Danny would probably push him over the edge.

So it makes sense that McGarrett called in other backup. Sure, he knows Danny will come and support him like his SEAL brothers, Junior (Beulah Koale) and Wade Gutches, played by recurring cast member David Keith of “The Officer and Gentleman” fame. But maybe in the back of McGarrett’s mind, he doesn’t want to take that chance. He just lost a father — he doesn’t want to lose a brother.

Junior and Gutch join McGarrett, Catherine and Danny in Montana and they take off with Lucia Bama (Kristen Dalton), daughter of Frank Bama, for Vientiane, Laos, where Omar is hiding. They meet up with their former British intelligence friend Harry Langford (played by recurring cast member Chris Vance), who does some excellent reconnaissance for the team. Before we can say “007,” McGarrett is in a tux, Catherine in an evening gown, and armed with matching wedding bands as their cover, they are headed for a baccarat table. They are tasked to get Omar’s money launderer Dimitri (Theo Coumbis) to drink some sort of radioactive concoction so they can follow him from the Vientiane casino undetected. They know he will take the laundered money back to Omar and the team can then execute the rest of their plan.

RETRIBUTION OR REVENGE

This week’s episode really is a part two, as similar themes spillover from the fall finale. The hit men who came for McGarrett and Joe’s SEAL team were sent to avenge the death of Omar’s father, a high-value target the team killed in Morocco in 2002. Omar as a young boy confronted the SEAL team before their extraction and Joe disarmed him and basically saved his life. But Omar grew up and used his wealth and power to exact revenge on the team for his father’s death.

In a sense, McGarrett is doing the same thing — only he does’t want to kill Omar, he wants to actually find former CIA agent Greer (Rochelle Aytes), who sold their names and locations to Omar. Besides himself, Greer is really who he blames for Joe’s death. McGarrett and Omar may want the same thing — retribution, revenge, whatever you want to call it — but McGarrett wants it in answers rather than dead bodies. He wants to know why Greer betrayed her country and then turned on her former lover, McGarrett, and sought to torture him, kill his friends, his mentor and then end his life.

JUST DESSERTS

Yes, it does seem as if they are planning to assassinate Omar for killing Joe. McGarrett even asks Gutch if he’s going to be alright with basically running a rogue mission. Gutch says it’s worth it if they can put the man who killed Joe in the ground. And they do find Omar, raid his luxury digs and confront him. McGarrett tells him his revenge plan failed — as he killed everyone on the team except the one who actually shot his father. McGarrett was the shooter, and Omar tells McGarrett to shoot him because he will not stop until McGarrett is dead. But McGarrett won’t kill him in front of his son and let the boy “relive the same cycle all over again.”

Instead, he wants to know where Greer is. It is really all he wanted in the first place. They find her hiding out in China, and when McGarrett and Catherine confront her — he asks Greer what amount of money would make selling out human lives worth it. She says there were other factors, and the look in her face makes us think that perhaps it is because she could not have McGarrett that made her turn.

All during Greer’s storyline, we saw little flashbacks to when she and McGarrett first met. She was the girl before Catherine, but after Morocco, and after McGarrett almost died in Afghanistan, he decided it was Catherine he wanted to start a relationship with — not Greer. It seemed that Greer took that personally, and when McGarrett remembered a pillow-talk conversation they had before the mission to assassinate Hassan went down in Morocco, they had made plans to be near each other and perhaps continue their relationship. But once the Morocco mission went sour, that plan never came to fruition.

Perhaps Greer pined away for McGarrett, and when she learned he was seeing Catherine, she decided there was nothing left except her drive for power and money. So it seemed a little ironic that when Greer pulls a gun on McGarrett — it is Catherine who takes her out.

ONE LAST NOD TO JOE

When the team returns to Montana, and they say goodbye to Gutch and Catherine, Gutch — like Joe — tells McGarrett to find a good woman, a boring hobby and retire. McGarrett tells Gutch he is going to think about it, but Gutch tells him he knows he won’t. He also tells McGarrett that Joe would be really proud of him and that he is too. It’s a sweet moment, perhaps there are a few more father figures in McGarrett’s life for him to look up to.

Before McGarrett says aloha to Catherine, she says they both owe Joe a lot. He tells her it is Joe who brought her into his life. It is why he took the plunge and asked her out. It was Joe who told him that Catherine was a keeper and that McGarrett should take the leap. Catherine and McGarrett both seem grateful to their friend for their relationship.

While they are no longer together at least they were brave enough to take that road that led them to each other. And they have one more thing to be grateful to Joe for, even if he has gone on the road from which there is no returning.

SOURCE: https://www.staradvertiser.com/2019/01/05/features/five-0-redux/five-0-redux-seeking-retribution-a-painful-task-for-mcgarrett-team/

[forgottenfavorites-blog1]

Taj Mahal [Derek Trucks Superjam]- Can't Turn You Loose [Live Bonnaroo 2014]

Derek Trucks – guitar Susan Tedeschi – guitar, vocals Willie Weeks – bass James Gadson – drums Adam Deitch – drums David Hidalgo – guitar, vocals Eric Krasno – guitar Nigel Hall – keys, vocals (lead vox on Respect Yourself, You’ve Got A Friend & Shining Star) The Shady Horns: Ryan Zoidis (sax), James Casey (sax), Eric Bloom (trumpet) Alecia Chakour, Jasmine Muhammad, ?Mark Rivers? & Mike Mattison – background vocals Kofi Burbridge – keys, flute?

Guests: Saunders Sermons – vocals, trombone (on Kissing My Love) Taj Mahal – guitar, vocals (on t8 to t11) Anthony Hamilton – vocals (on These Arms Of Mine & Signed Sealed Delivered) Ben Folds – piano, vocals (on Space Captain) Chaka Khan – vocals (t14 to t17) Andrew Bird Karl Denson

[lamiradamrp]

Disjointed Season 1 Animation Sizzle from Titmouse on Vimeo.

10 amazing artists create 10 unique pieces for the first season of Netflix's Disjointed. 
 From the highest of highs, through paranoia, munchies, PTSD and others. 
 These visions will take you on a trip. Watch them all now on Netflix.

Produced by Million Monkeys & Titmouse, Inc. Creative Director Dave Hughes Supervising Producer Ben Kalina Associate Producer Megan Love Editor Dave Hughes Sound Editor Brent Busby

Episode Directors PTSD POETRY Gabriel (Gabe) Mangold INSECURITY CAM Damil Bryant INSECURITY CAM Henry Bonsu DON’T MIND IF I DO Anthony Francisco Schepperd FOOD FIGHT Solomon Burbridge - Bent Image Lab / Greg Arden URINAL Jonathan Djob Nkondo SMOKY FRIEND Taras Hrabowsky COFFEE CUP Masanobu Hiraoka BLACK AND WHITE AND GREEN Jake Fried THE INCIDENT ITSELF Harry Teitelman SYMPHONY IN GREEN Hideki Inaba

[rosalindduguidnotebook]

From Google Street View Car Drivers are Human Too, in Photography After Capitalism by Ben Burbridge

[petersteph]

Online debate on the politics of photography

New Post on My Photography Tips

Online debate on the politics of photography

If you are interested in the wider politics of photography as the world undergoes many changes, check out free online discussion featuring Ben Burbridge from the University of Sussex and experienced curator, Charlotte Cotton Online debate on the politics of photography

[alchemisoul]

Wetlands Preserved Documentary: The Story of an Activist Rock Club

Archival footage, soundboard recordings and the work of a dozen digital animators help to relate the story of celebrated Tribeca nightclub Wetlands Preserve. The venue gave an early home to artists such as Phish, Dave Matthews Band, Blues Traveler, Spin Doctors, Widespread Panic, The Roots, moe., Gov’t Mule, Guster, 311, Robert Randolph, Soulive, The Disco Biscuits, all of whom appear in the film along with Bob Weir, Derek Trucks, Oteil Burbridge, Joe Russo, Darius Rucker and many others. Wetlands was not solely a music venue, as the club simultaneously supported a social and environmental activism center.

Larry and Laura Bloch founded the venue, which opened in February 1989, then sold it to 23-year-old Peter Shapiro in 1996. Shapiro ran Wetlands until the club finally closed in September 2001. The signature Wetlands bus currently sits in the Rock and Roll Hall of Fame.

The documentary, which draws exclusively on music recorded at the club, also features songs from Sublime, Pearl Jam, Ani DiFranco, Ben Harper, Michael Franti & Spearhead 311, KRS-1, Joan Osborne, Agnostic Front and Fishbone.

Wetlands Preserved: The Story of an Activist Rock Club premiered at Manhattan’s Ziegfeld Theater in 2006. It then screened at a number of festivals, including SXSW, Woodstock, Santa Barbara and Breckenridge and Asheville, where it won Best Documentary.

The film opened theatrically in Los Angeles and New York in the spring of 2008 before airing on the Sundance Channel.

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#架空書店201104

②How did it change?

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Photography

After Capitalism

Ben Burbridge

https://amzn.to/34RudKw

#予約受付中 #新刊 #本 #予約 #読書垢 #読書好きな人と繋がりたい #架空書店の本棚 #booktwt #Photography #Capitalism #洋書 #GoldsmithsPress

[volunteergp]

ROCK STAR OF THE DAY!

Meals on Wheels nominates Ben Burbridge for Volunteers of the Week! They wrote ‘Ben has stepped up and started helping during COVID. He is a friendly, reliable, excellent volunteer.  We are very pleased to welcome him in!’

Nominate your outstanding volunteers in the Grande Prairie Area for Tim Hortons Volunteers of the Week. Send your nominations to communications@volunteergp.com or go to https://www.volunteergp.com/services/recognition-programs/885 and fill out the nomination form. Please include your name, organization's name, the name of the volunteer, and a brief description of why they are being nominated. Once nominated organizations cannot nominate that person again for 6 months. Individuals already nominated can be nominated by other organizations they volunteer with. Those Nominated for Volunteers of the Week are entered in to the Tim Hortons Volunteer of the Month Draw were the winner will be named VOLUNTEER OF THE MONTH & receive a $100 Tim’s Card!

[matmanuk]

Disjointed Season 1 Animation Sizzle from Titmouse on Vimeo.

10 amazing artists create 10 unique pieces for the first season of Netflix's Disjointed. 
 From the highest of highs, through paranoia, munchies, PTSD and others. 
 These visions will take you on a trip. Watch them all now on Netflix.

Produced by Million Monkeys & Titmouse, Inc. Creative Director Dave Hughes Supervising Producer Ben Kalina Associate Producer Megan Love Editor Dave Hughes Sound Editor Brent Busby

Episode Directors PTSD POETRY Gabriel (Gabe) Mangold INSECURITY CAM Damil Bryant INSECURITY CAM Henry Bonsu DON’T MIND IF I DO Anthony Francisco Schepperd FOOD FIGHT Solomon Burbridge - Bent Image Lab / Greg Arden URINAL Jonathan Djob Nkondo SMOKY FRIEND Taras Hrabowsky COFFEE CUP Masanobu Hiraoka BLACK AND WHITE AND GREEN Jake Fried THE INCIDENT ITSELF Harry Teitelman SYMPHONY IN GREEN Hideki Inaba

[webionaire]

39.

[krispyweiss]

Quarter Notes: Blurbs & Briefs from Sound Bites

LESH DOES A DARK STAR (ORCHESTRA): Phil Lesh & Friends will recreate Grateful Dead concerts from unannounced years and venues during a triad of On This Day in Dead History concerts Nov. 14, 16 and 18 at Terrapin Crossroads. Ticketing info here.

A CENTURY OF LONGHAIR: George Porter Jr., members of the Neville family, Widespread Panic's Jojo Hermann and other New Orleans music stalwarts will pay tribute to Professor Longhair Dec. 19 at Tipitina's in honor of the centennial of the pianist's birth. Tickets on sale Nov. 9.

LIKE A ROAD TO THE WARFIELD: The Jerry Garcia Birthday Band - featuring the Jerry Garcia Band's Melvin Seals, Jacklyn LaBranch and Gloria Jones; Dead & Company's Oteil Burbridge; Widespread Panic's Duane Trucks; and Joe Russo's Almost Dead's Tom Hamilton - will play a two-night stand, dubbed Like a Road Leading Home, at Jan. 11 and 12, 2019, at San Francisco's Warfield Theatre. Tickets on sale Nov. 9

JIM JAMES IS A BLUEBIRD: Jim James will headline the second-annual Bluebird Music Festival, slated for May 25, 2019 in Bolder, Colo. Also on the bill are Langhorne Slim, the Lumineers' Neyla Pekarek, Ben Sollee and Jonny Miller. Ticketing info here.

11/8/18

[tatiltutkusu-blog]

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[artbookdap]

PROVOKE wins Best Photography Book in the 2017 Kraszna-Krausz Foundation Awards ・・・ Provoke was a Japanese magazine that ran for just three issues between November 1968 - August 1969 - but it was highly influential, and a book on it called Provoke: Between Protest and Performance published by @steidlverlag has just scooped Best Photography Book in the #krasznakrausz Foundation Awards. “The visual material is extraordinary; the essays and interviews detailed and enlightening; the design exceptional. Provoke will have the historical longevity to justify its place as a winner – we have no doubt that people will still be looking at it in twenty years’ time.” Ben Burbridge judge. 📷Daido Moriyama @bjp1854 @lebalbooks @le_bal #provoke #betweenprotestandperformance #blackandwhitephotography #bestphotobook2017 #steidl #Repost @monikacondrea

[miriadonline]

CONF: Critical Issues in Photography Today (London, 18-19 May 17)

London, University of Westminster, May 18 – 19, 2017

Photographies journal was first published in 2007 to initiate theoretical and critical discussion of photography in local and global contexts.

To celebrate our 10th anniversary, photographies journal is holding a two-day conference. Bringing together a range of international speakers, it promises to be a defining event, engaging and interrogating the contemporary condition and currency of the photographic image.

The talks and presentations will be organized around five key themes and explore a wealth of different issues and subjects within each of them: – Critical Issues – Theory and Resistances – Territory, Community and the State – Borders and Boundaries – Education

CRITICAL ISSUES IN PHOTGRAPHY TODAY Thursday 18 May 2017

9.30-9.50 Registration, Cayley Room

INTRODUCTION 10.00 Professor Kerstin Mey, Dean of Media, Art & Design, University of Westminster

1. CRITICAL ISSUES, Lecture Theatre UG.05 Chaired by Andrew Dewdney

Ben Burbridge, Communicative Capitalism Sarah Tuck, Drone Vision Winfried Gerling, Screenshot and In-Game-Photography Michelle Henning, Image Flow Discussion

1-2pm LUNCH, Cayley Room

2. THEORY AND RESISTANCES, Lecture Theatre UG.05 Chaired by Merja Salo

Sylvia Grace Borda, Locating the camera Jan Babnik, Photography as a Theoretical Object Cécile Bishop, Photography and Race Sandra Roban, A Cut through Photography Discussion

16.00, TEA/COFFEE Cayley Room

3. TERRITORY, COMMUNITY AND THE STATE, Lecture Theatre UG.05 16.30 Panel Discussion: Olga Smith (chair), Stefanie Gerke & Tobias Zielony

18.00 RECEPTION ­ REFRESHMENTS, Cayley Room 19.00 END

DAY 2

Friday 19 May 10.00 – 18.00hrs 9.30-10.00 COFFEE/TEA, Cayley Room

4. BORDERS AND BOUNDARIES, Lecture Theatre UG.05 Chaired by Theopisti Stylianou-Lambert

Mette Sandbye, New Mixtures: Migration, war & cultural differences Dahlia Mahmood, Tribal Affiliations in the Public Sphere Tomas Pabedinskas, Mythologies of Nationhood Maria Romakina, Representation of the Frontier Meghan Gilbride, Family Album in Refugee Experience Discussion

13.00 LUNCH, Cayley Room 5. EDUCATION AND PHOTOGRAPHY, Lecture Theatre UG.05 Chaired by Oh Soon-Hwa

Gabby Moser, Curatorial Experiments and Pedagogical Failures Lucy Soutter, Photography and Cultural Translation Andrew Smith, Vocational Education in Jamaican and Photography Juliet Hacking, Photographic Exceptionalism Gengyan Zhou, Reframing Documentary Photography in China Discussion

16.30, TEA/COFFEE, Cayley Room

17.00, ROUND TABLE-PLENARY, Lecture Theatre UG.05 David Bate, Justin Carville, Erina Duganne, Liz Wells

The conference is convened by David Bate (University of Westminster, London, UK) and Liz Wells (Plymouth University, UK)

Supported byRoutledge, publishers of photographies journal Plymouth University University of Westminster

[devonhandley-cop3-blog1]

Appraisal

My dissertation set out to evaluate the impact of technology in regards to the still life genre in photography. I approached this as an opportunity to develop my understanding of critical theory in photography and begin the process of structuring a lasting academic approach to how I undergo research, as well as improve my technical proficiency with lighting and expand my general skillset.

The investigation was informed by first-hand primary research from the Revelations exhibition at the National Media Museum provided a solid foundation from which to begin the process of formulating potential strategies for my practical work whilst providing me with critical analyses to pursue. Paris Photo 2016 helped me to observe more overarching trends within photography so as to judge the position of the still life in relation to the work of the contemporaries.Textual research by Walter Benjamin, Edwards and Hart and Ben Burbridge, with supporting information by many other writers, which helped to form the theoretical basis of my practice. This has made a profound difference in my understanding of the contextual and cultural mechanisms that operate outside of the visual ones within photography. Decontextualisation, materiality and originality are all concepts which are complex but essential in placing ones understanding of works in relation to its environment. My visual research, which looked into the software development team The Astronauts, and the photographs of Ori Gersht and Sharon Core, enabled me to formulate a practical research strategy which improved my technical abilities and my aesthetic knowledge. However, having been informed by a number of primary and secondary sources this also had the added effect of informing my critical and contextual understanding of not just the still life genre but photography as a whole medium. In particular, the work of Gersht confirmed the approach that I wished to use with my practical efforts; the adaption of existing visual language with contemporary technology to create a response to evolving perspectives on art. The works themselves all contained reference to the issues discussed in the texts and thus the dissertation, providing a clarity which improved how I interacted with the dissertation question in all aspects of its making.

My practical work, heavily influenced by my research, is a contemporary response to current artistic trends. They are works created for contextual compatibility of format by way of their potential for replication and ongoing refinement; they are virtual still life creations only possible with modern technology and artistic perspective. I believe that the dissertation successfully unites all of the issues found in my textual research and runs a distinct and unifying purpose through them, with my practical work reflecting an effective personal response to them.