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The purpose of this body of work is to identify examples of harmony between light and architectural form. The objective with the way I shoot and edit these images is to exaggerate and focus attention towards those aspects. I do this by employing the use of minimalism to direct attention away from distraction, whilst using selective dodging and burning techniques to further emphasise the existing features. I intend to offer an unobstructed view of the structures’ artistic merits, separate from its’ intended purpose.

This image was a series of three photographs that have been stitched together through Photoshop. This was done to increase the resolution of the final image, and thus allow for greater editing potential. The first task I had was to manually lift the building from its’ background. The reason I have done this is because I wanted to minimise the level of distraction to the point where the image offers you no reason to look away from the structure featured.

I then began to slice the individual sections of the building away, in line with the way the building was constructed. In the screenshot there are fifteen individual sections, however it was only until mid way through the editing process that more sections were created, forming a total of approximately twenty layers. Depending on the complexity of the building, this can range greatly, however this was on the higher end of the scale.

Editing each component comprised of a mixture of levels adjustments, as well as use of the dodge and burn functions. It is important to note that whilst the editing process is on a more extreme scale, I merely intend to work with the existing light and exaggerate where necessary, as opposed to against it.

I finally placed the resulting composite on a dark artificially generated background, which would engulf the building, allowing the viewer to contemplate it free of distraction.

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The TWA Terminal, Ezra Stoller

The context for this book is slightly different from that of the other books I have discussed. Firstly, and most importantly, the purpose of the book deviates from attempting to construct a narrative, but instead record the events that took place whilst photographing the building. There is an important separation between these two types of books, however, this still remains under the heading of a photo book. 

The book is a similar size to Ken Schles’ Invisible City, however, the format used to present the work is completely different. The Images are still black and white, however, they are shown alongside text. Evidently, the author wanted to explain to the reader certain aspects of the photos, allowing them to understand the images more clearly. This is certainly a book that’s intentions lean more into the informative, non-narrative context

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Invisible City, Ken Schles

This photobook caught my attention due to the difference in size to my previous selection, from Gursky. It measures approximately A4 once laid out, and has 80 pages, filled with full-bleed photographs, taken by Ken Schles. Every image really feels like it captures a moment, each displayed in black and white. The pages are matt, lending itself well to the monochromatic nature of the images.

Personally, while I think the full bleed format of the images in the book works well for this particular set of photographs, I am not keen to translate this into my own photo book. I feel as though in order for the images to have the impact the author wanted, the book needs to take on a larger size. I prefer the layout used in Gursky’s The Modern Image. 

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Thomas Ruff - Tripe_08 (Pugahm Myo. Thapinyu Pagoda), 2018, C-Type print

Thomas Ruff is well known for the portraits he created in his studio between 1981 and 1985. These often featured passport style photos of men and women in their 20′s and 30′s, looking directly at the camera, expressionless, on a solid plain background. Art critic Charles Hagen, writing for The New York Times, commented: "Blown up to wall-size proportions, the photographs looked like gigantic banners of Eastern European dictators." After he began to experiment with large format printing in 1986, the prints grew in size, such that they would fill five feet of wall space. “In their monumentality, the portraits reveal every surface detail of their subjects. At the same time, the portraits refuse to disclose anything beyond these superficial elements, concealing as much as they reveal.“ NPG Website

Thomas Ruff was commissioned by the V&A Gallery to mark the opening of the photography section. Known for his critical approach, Ruff reinterprets Linnaeus Tripe’s 1850s paper negatives of India and Burma from the V&A’s collection.

Tripe was sent to India and Burma for a military survey, and whilst there, produced some of the earliest photographs documenting ancient ruins, religious monuments and landscapes. These photographs were one of the first to provide a visual documentation of these structures, and are still valued and admired today. 

The unique aesthetic applied to Tripes photographs can be derived from the handcrafted editing process, resulting from the time he spent in the darkroom. These prints by Thomas Ruff, explore a digitised version of this, and provide a new perspective to admire the structures within frame. “He has been described as “a master of edited and reimagined images”.” The Tate Gallery.

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Andreas Gursky - The Museum of Modern Art, written by Peter Galassi

As an artist, Gursky has interested me for a long time, and this is partly the reason why I chose this particular book for review, besides its enormous size and weight. There are 196 pages, and the book is roughly A3 in size. The pages are thick and have a matt finish to them. 

The layout of the text and photographs inside is simple, and allows you to focus on the content. There is a short section at the start of the book that explains the relationship between Gursky and Galassi, with some background and techical details. This is then followed by an almost uninterrupted exhibition of the work Gursky produced to date. The images are displayed on their own, allowing the viewer to observe with no distractions. The techical information is then dislayed on the adjacent page. The volume of white space in this book is reminicent of a gallery wall, no doubt the intention here. 

One particular aspect of the book I enjoyed was that due to the large nature of the prints Gursky produces, the book gives you the ability to experience this by showing you both the image in full, as well as a close up of a section of the image, to offer two perspectives. This is a technique I may decide to incorporate in my own book.

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Andreas Gursky

99 Cent 1999 Chromogenic print mounted on Plexiglas in artist's frame 81 1/2 x 132 5/8 in. (207.01 x 336.87 cm)

Captured through a large format camera, Gursky encapsulates the essence of consumerism, and it’s overpowering effect on society. A broad spectrum of bright, bold colours fills the frame, though there is an underlying bitterness to the undeniably artificial nature of what we can see. The large scale fashion of this print offers us two different perspectives; firstly one that offers a more abstract overview, when viewed from afar, and secondly, a far more intimate examination of the finer details we are presented with. This is, in many ways, a snapshot of what capitalism looks like today. The inclusion of human figures allows us to examine how as a society, we behave within, and interact with our environment, and how these environments shape our behaviours. There is an entire social ecosystem present within this frame.

Gursky grew up in a time where photography was not considered an art. Photography was fixed in a state of realism, only used for documentary purposes. He became interested in photographing landscapes, and exploring how people fit within them. He made these images ensuring that figures were insignificant in the frame, to a point where it would become difficult to see from a distance. Gursky realised early on, that his images were missing a punctum, something that acts as the eye of the image. Gursky almost always leaves the horizon in his work, in order to evoke a sense of continuation, and to avoid seeming too suggestive over where to look. One of the most notable aspects of his photographs is the distinct lack of what is known as “The decisive moment”, as popularised by photographer, Cartier Bresson. Because of his insistence on a very specific aesthetic, Gursky often manipulates his images artificially in order to achieve what would otherwise be impossible to capture organically. However due to the fact that many of his images are still produced via conventional means, and because it becomes impossible to say which have and haven’t been edited, Gursky mentions how what matters is the image as it stands, rather than how it was produced.

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Time and Progress

Time and progress have both recently become increasingly debatable topics, specifically regarding their intrinsic links and discordant relationship. There is lots to be said about how they behave, both above and below the surface. This essay will examine how the two terms behave, both in relationship to each other as well as their perceived qualities; that being, the notion of time-space compression, spaciotemporality, and the continued trajectory of postmodernity, including the heightened importance of appropriation, in relation to the work of Richard Prince.

To begin with, one must understand the definition of both terms. Oxford dictionaries define ‘time’ as follows; “The indefinite continued progress of existence and events in the past, present, and future regarded as a whole.” - Stevenson, A. (2010). Oxford dictionary of English. New York, NY: Oxford University Press. This particular definition is intriguing because of its secondary use of the word, ‘progress’, contextually describing existence. It is clear that the English Oxford Dictionary holds strong modernist views, quantifying progress through time, as to suggest that we as a society, are consistently progressing as time passes us, with no deterioration or counter-progression taking place at any point. Perhaps the reason for this over-simplification of what is a far more complex term, is a result of the clear correlation between time and progress, evident through technological advancements. However, this fails to consider that correlation does not equal causation. To counter this, an example of a disadvantage of postmodern society might include the introduction of nuclear weapons. It is difficult to classify this as progress, as defined by the English Oxford Dictionary.

Time is perceptual. It is not a fixed concept. it is relative to interpretation, and speeds up and slows down accordingly. This is why quantifying it through minutes and hours is in many ways a redundant practice. This only allows us to map out the past and future, like coordinates on a globe. Jorge Luis Borge (1970) states, “Time can’t be measured in days the way money is measured in pesos and centavos, because all pesos are equal, while every day, perhaps every hour, is different.” The Oxford English Dictionary fails to take into account either of these two very important factors; relativity, and time’s discordant relationship with progress.

After questioning the relativity of time, one must consider if the same rules apply to progress. What one person might describe as progress, another might not. The English Oxford Dictionary defines progress as follows; “Forward or onward movement towards a destination.”. The use of the term ‘destination’ assumes a finishing point, which again, is a relative concept. This fails to take into account that what might be one person’s destination, might not be consistent with many other people.

Taking for instance, the shift from Realism into Postmodernism, we can appreciate that it allowed society to develop individual nuances through beliefs, and challenge the sweeping assumptions and generalisations that are perpetuated through Modernism. Postmodernism developed a new epoch of art and media that catalysed individual expression and identity. However, one might argue that this deconstruction of governing conceptualisation and perpetuation of increasingly significant individual expression has consequently led us down a path of narcissism, cynicism, and ultimately isolation. “Postmodern irony and cynicism's become an end in itself, a measure of hip sophistication and literary savvy.” Wallace D, (1996) Infinite Jest. One must question if this is progress, a cultural shift, or even a step backwards.

You can see this transition through portraiture, well before the invention of photography. Whilst the intention of art was to present reality in its truest replication, the art ecosystem stagnated. Take one of the most famous and influential painters from the 17th century; Rembrandt, who was one of the great leaders in the renaissance era. Rembrandt understood light in a way that no other painter did. Rembrandt would argue that the most accomplished painters would be those who were capable of replicating reality in the most mirror like fidelity. However, moving on some years, where abstract works began to emerge, you will notice a shift in intent. No longer is the need for replicating relevant. That job has been made redundant by photography, Instead, postmodern influences push art into adopting notions such as semiotics, and tackling lazy assumptions once relied upon.

There are two main philosophies regarding the movement of time, each relevant, borrowing from each other in some way or another. We start with absolute time, which as the name suggests, dictates time as a linear, 2d structure. It acts only as frame upon which we plan events and record history. “Absolute space is fixed and we record or plan events within its frame.” Harvey, D. (2005). Spaces of Neoliberalization: Towards a Theory of Uneven Geographical Development. Stuttgart: Steiner, p.94. It is perhaps the most common way that time is viewed. It is currently 10:43am on Tuesday 1st May as I write this, and I know for a fact that offering this information is an accessible way for anyone to visualise exactly how long ago it was, in relation to their position in time. Absolute time also introduces the ability to recall information; I could ask you where you were and what you were doing at this time, and perhaps with the help of a calendar, you would be able to give me an accurate response. However, if I were to ask how long ago this feels, I danger confusing absolute time to one of relativity, because the latter is entirely subjective, whilst the former is not.

The next main structural philosophy regarding time is variation, or relativity within time. This theory addresses the fact that time is experienced at different speeds, depending on the individual. One of the most influential minds denouncing relativity was Einstein, who believed that all forms of measurement depended on the frame of reference of the observer. "When you are courting a nice girl an hour seems like a second. When you sit on a red-hot cinder a second seems like an hour. That's relativity."  Einstein A. This premise is referred to as spaciotemporality.

One of the major contributing factors to the relativity of time, is time - space compression, which dictates how as technological improvements are made, space grows smaller. The introduction of global telecommunications, faster transport, and most notably the internet, means that now, sending a message to someone halfway across the world, no longer requires weeks of foot travel, and can now instead be sent virtually instantaneously via text, email, or any one of the many social medium we now heavily rely on. “As space appears to shrink to a global village of telecommunications and a ‘spaceship earth’ of economic and ecological interdependencies - to use just two familiar and everyday images - and as time horizons shorten to the point where the present is all there is, so we have to learn to cope with an overwhelming sense of compression of our spacial and temporal worlds” Harvey, D. (1989). The Condition of Postmodernity. (p.240).

The interpretation of time also depends on the volume of events that occur within a timeframe. The experience of boredom is only encountered once the body is deprived of sensory stimulation, which causes the experience of time to elongate. On the other end of the spectrum, keeping levels of sensory experience up, catalyses its passing. However this is only short term. Long term side effects of experiencing boredom causes the complete opposite effect. This is the main reason as to why adults in their 50’s, feel as though time passes them faster than whilst we were younger. This causes us to value the time we have more while we have less of it, and to treat it more like a commodity. “The findings support the contention that depressed affect produces a subjective slowing of time” John D. Watt, (1991). Effect of Boredom Proneness on Time Perception. Vol 69, Issue 1, p.323 - 327.

This leads the question of how these state of affairs intend to progress. One of two things might happen. Firstly, stagnation occurs, through technological superiority; technology has advanced so far that it becomes impossible to travel any faster through space, and thus no more progress is made. One must question whether time - space compression will continue in the same trajectory, and what a future world might look like if this were to occur. One must entertain the idea where everything is experienced simultaneously and instantly, all at once. It is difficult to fathom such an idea, however it remains relevant for the duration of this potentially worrying trajectory.

Time can also be broken up into categories based on influences regarding art and media. The phrase, ‘Avante Garde’ is commonly used to demote what is ‘new’, or ‘original’.  Cambridge dictionary defines the expression as “The painters, writers, musicians, and other artists whose ideas, styles, and methods are very original or modern in comparison to the period in which they live, or the work of these artists”. Cambridge University Press. (2008) Cambridge Advanced Learner’s Dictionary. Derived from French terminology, ‘Avante Garde’, or ‘Vanguard’ in English, refers to the part of the army that is positioned ahead of the others, with the intention of breaking through the resistance of their adversaries. This aids in defining its current use, that being a style in which artists of all media platforms use which is considered new and original. Artists who use this tactic intend to ‘break through’ mainstream tropes in order to create something new and thought provoking. These works often stir controversy, however successful works are later on appreciated for their contribution to whatever field of media they belong to.

An example of a controversial and ‘Avante Garde’ creation might be Richard Prince’s ‘Malboro Man’ piece, where he took photographs of the Marlboro cigarette campaign by Sam Abell, subsequently selling it for over one billion dollars at Christie's New York in 2005. It was the most a rephotograph had ever been sold for. This is considered ‘Avante Garde’ because of the way that Prince changed how photography and its relationship with art was viewed. By re-appropriating an existing photograph, Prince essentially destroyed the idea that duplicates hold less value than the original, challenging ideas of context, and what makes art art. Prince was one of many different artists who explored context and appropriation, alongside people such as Warhol and Duchamp. “To photograph is to appropriate the thing photographed” Sontag S (1977) On Photography.

In conclusion, both the terms, ‘time’ and ‘progress’ are absolute and relative depending on their context and individual preference. Both are relevant yet not mutually exclusive. Progress on the other hand is entirely relative, and is conditioned upon individual beliefs and morals. It assumes a destination, yet remains fluid through individual interpretation.

References

Cambridge University Press. (2008) Cambridge Advanced Learner’s Dictionary. Einstein A Geographical Development. Stuttgart: Steiner, p.94. Harvey, D. (1989). The Condition of Postmodernity. (p.240). Harvey, D. (2005). Spaces of Neoliberalization: Towards a Theory of Uneven Jorge Luis Borge (1970) Sontag S (1977) On Photography Stevenson, A. (2010). Oxford dictionary of English. New York, NY: Oxford University Press. Wallace D, (1996) Infinite Jest

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Esther Teichmann

Esther Teichmann is a photographer, videographer, writer, and curator, who earned an MA as well as a PhD in fine art from the Royal College of Art. Teichmann’s main subject involves surrealist form, and dreamlike sequences. She works both with still and moving imagery, often together, in order to create works that force you to question what photography stands for.

Teichmann’s main focal point for her talk included dual screen projections, which depict two videos playing simultaneously, with some form of intrinsic link to bond the two. These were very interesting and entertained the subject of expanded photographic practice.

The benefits of using twin screen projections are great, with the possibility of not only viewing films sequentially, but simultaneously, it creates the visual equivalent of stereo sound. “The development of multi-projection has come in one way or another through treating projection as the primary area of film’s ‘reality’. For the film’s audience, the only point of contact with cinema as material reality comes through the actual time and space of projection.” G L Malcolm (1977) Abstract Film and Beyond.

Teichmann seems to have encapsulated this statement in her own twin screen projections, in that they immerse you in a cinematic sensory experience. Two screens lend themselves well to the particular type of subject matter Teichmann finds interesting enough to document.

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Superimposing

The intent for this exercise was to photograph an object in a studio environment, lighting it in a way that could then allow it to be lifted onto a separate location photograph. My idea was to photograph a typical London skyline, and then place an everyday small item into the scene, in a way in which it would camouflage into the other buildings. I had to choose something that would look somewhat like a structure.

This is the first image, taken in the studio, with a single light, positioned behind the camera with a beauty dish, reflected off of the ceiling. This resulted in a soft light effect, that would fit well into a cloudy scene. This dictated what weather I needed on location. If it was sunny, I would have positioned the light facing the subject directly, resulting in a strong shadow cast on the right hand side, however due to the nature of British weather, this seemed like the more appropriate idea.

I begun using the quick selection tool for cutting out the chips. This seemed like the most appropriate tool to use because of the clear definition between the subject and the background. I then refined the edge by increasing the radius to 1px and turning on smart radius, which from experience gives a good result.

This is the final cutout

This is the location image that I obtained post studio shoot. I had to make sure that the weather was cloudy, and that there was space in which I would place to chips. I made a few global adjustments in the raw suite, and then opened it up in Photoshop.

This is where I intended to position the chips

A few adjustments to the shape and perspective of the chips gave it a more natural perspective.

I cut out the building in front using much the same technique as with the chips, and then duplicated the layer, so that I could then place it in front of the chips.

A few more adjustments to the levels to balance out the tones.

The final image, with some burning to boost contrast.

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Andrew Dewdney

Dewdney talked about the apprehension and meaning of time and its relationship to identity, experience, and knowledge. Firstly, he discussed the key concepts related to time, such as Evolution, which was popularised by Charles Darwin (1809-1882), Capitalism, the unconscious, discussed in great lengths by Sigmund Freud (1856-1939), and relativity, which was publicised by Albert Einstein (1879-1955).

Dewdney introduced the two main concepts of time; absolute space and time, and relative space and time. Firstly, the most commonly viewed concept relating to time is that time and space are both absolutely fixed. This is the default. In relation to identity, this concept becomes relevant when discussing events in the past, present, or future. “Absolute space is fixed and we record or plan events within its frame” Harvey D (2004) Space as a Key Word, Paper for Marx and Philosophy. Conference. Time always moves to the right, and never changes speed. This gives way to changes in society and politics, including the shift from the industrial revolution to the digital revolution, and colonialism to globalisation.

The next key concept is relativity, or variation; time and space are relative. In this principle, time can change shape, accelerating and reaccelerating depending on what individual is experiencing it, or what the individual is experiencing at the time. This philosophy was greatly associated with Einstein, who further argued that all forms of measurement depended on the frame of reference of the observer.

One of the main ways in which time and space is able to change shape, is through a concept popularised by David Harvey, who discusses space-time compression. This dictates how the world appears to be shrinking due to the invention of faster transport and more efficient means of communication. As it becomes easier for society to travel and send messages to increasingly more difficult places to reach, the illusion that these places are growing closer becomes more apparent, thus the idea that the globe is continually shrinking becomes relevant. As an example, the Scramjet can fly at speeds of up to 8,400 miles per hour, a vast improvement upon the prior.

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Peter Kennard

Born in 1949, Kennard began his career as an artist, however later decided to switch practices to photography based on his views that art was stuck in the past. He believed that photography was a more effective medium for translating political and social messages. Kennard began experimenting with photomontages, by cutting out physical prints of people, (usually political figures), logos, and words. He would then create a montage of the combined pieces, most commonly aimed at pushing some sort of political message. He was inspired by the constructivism movement of the soviet union, and it is clear to see the inspiration that he has pulled from this.

As an overview, Kennards political beliefs revolve around his negativity towards war, with much of his work depicting nuclear missiles, and right wing political figures.

One of his most notable works is ‘Broken Missile’, created in 1980, during the Reagan’s time in office. This features a nuclear missile cut in half by the well known peace symbol. The symbolism is clear, and the message is straightforward. Kennard desired for the triumph of peace over war; peace depicted by the symbol, and war by the missile. It is effective, and has made its way onto numerous medium, including T-shirts and posters.

Part of the appeal to Kennard’s talk was his blatant disregard for opposing views. He stated that the idea of someone disagreeing with the sentiment of his work doesn’t bother him. He has never tried to change the messages in his pieces for further appeal. He makes work that he likes and any criticism is irrelevant to him. While there is a fine line between individuality and ignorance, I think it is always important to have minds like this making work that expresses individual beliefs without altering due to outside influence.

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Twin Screen Projections

This project involved creating two videos that would then be played side by side. Both required some form of link, so that in context, they would relate well together. Our group of four decided on the opposite, and instead creating a dissonance between the two. We decided on creating two videos that explored environment, and the people within it. Our pair needed to find an environment that was peaceful, which resulted in a smaller London street at ten o'clock on a Sunday. I instructed the subject to walk in front of me. The idea was that in the two minute clip, nothing of any significant interest was to occur. this was to aid in the quiet, peaceful setting we were trying to evoke. The other team on the other hand worked on obtaining an environment that was noisy and busy. The two videos were not shown to either party until exhibiting, which made the whole process more spontaneous. 

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Who presses the shutter?

There was only one rule with this mini project; the photographer was not allowed to press the shutter. This caused us to think creatively in the way in which we would tackle this difficult exercise. One idea was to set up the camera on a tripod on the second level of Waterloo station. This allowed for a good viewpoint in which plenty of people could fit within the frame. We set the camera to take a photograph every ten seconds for five minutes while each person took turns walking down the escalator to be in the photograph. The intention was to then merge the photos together so that we were all in the same image. It was by pure chance that most of us ended up in the lower right hand corner of the frame. Neither one of us knew where we would be in the frame, we just knew that at some point, after walking around for long enough, that we would be in at least one. It is also worth noting that there are four entirely different time zones in this one image. The creation of this photograph was completely spontaneous, and fulfilled the criteria.

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The Changing Nature of Domestic Photography

The purpose of this project is to demonstrate the changing nature of domestic photography, specifically through vulnerability in old age. The objective of domestic photography has changed significantly since it’s inception in the 19th century. It was once a way of recording the present, with portraiture quickly becoming the key method of doing so. Families would hire photographer’s to photograph them in their homes, as a method of documenting that point in time. The process was expensive, and thus rare, with subjects almost always adopting a formal pose. The opportunity to have your photograph taken was only given to those with enough wealth to do so.

As time progressed, and photography became cheaper, and more consumer ready, the notion of having your picture taken became far less of a precious commodity. This resulted in more natural setups, with the role of photographer often being assumed by the family member. After social media took over, and cameras made their way into people’s pockets, any expense or inconvenience once associated with photography vanished. The sheer volume of photographs being taken inside the home reached maximum. Now, the intentions of the photograph had changed. Instead of using photographs for documentary purposes, people now wanted to use them for advertising of their lives. Through the introduction of social media, people found a way of broadcasting their lives to thousands of other people. This gave way to a new era of photography.

With these images, I intend to question the assumptions of domestic photography and its role within social settings. I will also be exploring vulnerabilities in old age.

My production team was limited to myself, and the subjects involved in the shoot. I felt as though working alongside a team would have hindered the development of the photographs, as well as the fact that there was no real need for extra hands on the shoot. This resulted in a selection of three different subjects, which I then used to demonstrate normal behaviour inside the home. It was important that I ensured each subject acted in a natural fashion, in line with my idea, focusing on the documentary of vulnerability in later life

I wanted a cinematic style aesthetic to be applied to all the images, drawing from inspiration by Gregory Crewdson, and his wholly traditional approach to social problems. His work makes use of narrative to elicit ideas in the observers of his work. I wanted to conceal the scene’s prior and subsequent context, in order to evoke a sense of drama and mystery.

The areas I wanted to address were as follows;

Safety (dangers of outside threats)

Isolation

Malnourishment (due to lack of money)

I used both a 50mm and 16-35mm lens to obtain the cinematic effect I was after. I only used the 50mm for one shot, (number five) facing the kitchen shot through a doorway. This was to utilise its’ f/2 capabilities, something my 16-35mm could not achieve. I wanted there to be a shallow depth of field to isolate my subject. For the most part, I wanted to capture the environment, with the subject smaller in frame. this was to evoke a sense of isolation. I also had to time each scene so that the light was of a specific nature. For example, number two had to be shot at sunset, so that the kitchen light would be brighter than the surroundings, yet there be enough light to keep the outside of the building visible. For some of the final images, I had to bracket, taking a number of different exposures, as a result of the challenging natural light. This took place during the making of number one and three.

In conclusion, I have created five images that take off the mask often worn by families, addressing issues including such as safety, isolation, and malnourishment. Comparing this to modern day images that are posted on social media, there is a clear dissonance between the two. This therefore demonstrates the change in nature of domestic photography.

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The Development of Postmodernism, and its Influence on Art and Media

Postmodernism is not, and has never been a fixed notion. It’s inherent fluidity means that defining it fully is impossible. However, certain common denominators allow us to pin down a few characteristics that can aid in interpreting what is ultimately a multi-faceted attitude.

Firstly, Postmodernism was partly a response to Modernism, and its precursors. Society was disappointed with Modernism’s failure to prevail many of its key utopian themes. These included grand narratives such as creating a better world, through technological supremacy, and the introduction of Communism; a hopeful new societal structure. Postmodernism challenged this by introducing the notion of relativity, and nuance within perspective.

Modernism can be split into three different terms; Modern, Modernity, and Modernism. Firstly, the word Modern is used to describe a new idea, or attitude. Modernism was exactly this, and entertained a brand new way of life, optimistic and positive, providing an answer to society’s problems. Modernity dictates the quality of being modern, and Modernism is the movement itself.

The introduction and subsequent development of art and media heavily relied upon society’s growing lack of interest in realist works, prevalent throughout the 19th century. Artists of this time were preoccupied with achieving mirror like fidelity, and any philosophical depth was thus unattainable. The invention of photography meant that this competition became obsolescent, and the objectives of art and media were shifted entirely.

Photography was considered the Postmodernist art. The popular modernist attitude towards an original holding more value than a copy was radically altered. Photography brought value to duplicating.

Surrealism

Surrealism, which became largely influential around the 1920’s, was an art movement that drew in creators from many different backgrounds, including artists, writers, filmmakers, and poets. It was an intriguing and radically different method of creativity which sparked a revolution in the art and media community.

Surrealism can be split into two separate words; ‘realism’, meaning true and accurate, with ‘-sur’, meaning ‘over and above’. It was both a movement, as well as a lens, in which to view the world. It was at this point during the progression of Realism into Modernism, that philosophy became increasingly interlinked.

Surrealism focused on the interpretation of the unconscious as a justifiable form of existence and materiality. At the time, any depictions of sexuality and violence were discouraged, and so rejection of the current rules were heavily endorsed by the movement. There was a sincere desire to reject socially accepted behaviours. “We are still living under the reign of logic…The absolute rationalism that is still in vogue allows us to consider only facts relating directly to our experience. Logical ends, on the contrary, escape us.” Breton, A., 1924. Le Manifeste du Surrealisme. 1st ed.

It could be said that Surrealism, whilst a precursor to postmodernism, acted as a significant aid in its creation and development, with many of its’ characteristics attributed to the former.

Allegory of the Cave

Plato believed in a theory that explained society’s willing detachment from reality, by referring to a cave, used as a metaphor for our periphery. Plato explains that a group of prisoners sit inside the cave, facing a blank wall, with only dancing shadows to form their perception of reality. They are held captive by their wilful ignorance of the outside. It is all they have ever known, and their reluctance to experience anything else has left them content with where they reside. At some point, one of the prisoners manages to overcome their shackles of ignorance, in order to leave the cave, only to find themselves unable to comprehend the complexity of the outside world. They are blinded by the sun. However given time, the former prisoner learns to accept the sun, and all that exists beneath it as true. In doing so, he takes pity on the other prisoners, and ventures back to convince them to leave with him. However, his eyes have grown used to the bright conditions of the outside, and can no longer navigate the cave.

Photographs, like much of art and literature, are in many ways the shadows on the wall. Much of our world is perceived through photography. Places and things far out of reach are brought closer due to the vast array of images we, as humankind has collected over the century’s. However, whilst a photograph is the most accurate, and reliable form of evidence, it is still merely an interpretation. What the photographer decided to include and exclude determines the sentiment of the image. In this context, the photographer is the puppeteer, able to distort reality, and broadcast these untruths freely. “Photographs are as much an interpretation of the world than drawings and paintings are.” Sontag, S., 1977. On Photography. 1st ed. New York: Penguin Modern Classics.

This analogy can be linked closely to Modernism, and it’s shift into Postmodernism. In many ways, the grand narratives derived from Modernism, act as the puppeteers, attempting to provide solutions through sweeping assumptions. These include theories such as that history is progress, peace on earth is good, and religious teachings prevalent in the Bible can be used as absolute rules to live by, in order to lead successful lives. The act of leaving the cave, is a symbol of realisation that individual interpretation is an integral part of being human.

David Foster Wallace and the Problem with Postmodernism

David Foster Wallace is known as being one of the most influential writers in recent history, most famous for his creation of the book, Infinite Jest. Before committing suicide in 2008, he criticised Postmodernism, for the negative effects it had on his generation.

One of the most presiding cultural forces of his time included television, which he believed had become far too saturated with ideas of Postmodernism, such as deconstruction, and individual interpretation, disregarding modernist traits of sincerity and optimism. Postmodernism had in many ways, shut off our perception of the world through ideas such as; everything is a social construct, there are no absolute truths, only individual perspective matters, and yet simultaneously nothing matters. Tv shows that had previously relied upon human sentimentality in order to keep the viewer occupied were replaced by methods such as irony, causing an influx of shows admitting to themselves of their lesser intelligence. Instead of fighting condemnation, they embraced it, making it almost impossible to criticise them. They became more self referential, and took on a less serious demeanour. Any element of earnest sentimentality was replaced almost entirely by a lack of sincerity.

For Wallace, he recognised the negative effects that this would have. “Irony, entertaining as it is, serves an exclusively negative function. It’s critical and destructive.” Wallace, F, S., 1993. E Unibus Pluram: Television and U.S. Fiction.

Susan Sontag - Against Interpretation

Sontag, prior to her death in 2004, decried the interpretation of film, stating that it aims to provide, no matter how arbitrary, a logical explanation for intentional illogicality. Sontag saw a significant desire to over analyse film, as well as art and literature, to the point where aspects designed to elicit feelings of confusion were solved through rationality, against the will of the artist or writer. She believed that interpretation seeked to ‘manage’ art, and to tell it what was, or was supposed to be.

Sontag found this to have a negative effect on culture at the time. She believed that it impoverished our ability to enjoy art for what it was. She says that our craving to draw links from things we don’t understand represents our dissatisfaction with it, and that we should pay more attention to form. “Interpretation takes the sensory experience of the work of art for granted.” Sontag, S., 1966. Against Interpretation.

Sontag called for the analysis of the physical elements of film, including narrative structure and composition, stating that there is more to be taken in from these aspects. Sontag also believed that doing so would result in a better understanding of the film itself, more-so than interpretation.

This is in many ways, is another criticism of Postmodernism, and the actions it perpetuates. Individual interpretation, and it’s importance within the Postmodern movement was emphasised greatly .

Political Implications

Modernism and the rise and fall of communism are inextricably linked, due to the nature of both movements, and their relationship with one another. Communism defined, states, “​The belief in a society without different social classes in which the methods of production are owned and controlled by all its members and everyone works as much as they can and receives what they need.” Cambridge English Dictionary, 2018. It is difficult to say whether or not one began as a result of the other, and which way around this may have been, however the link between the two is definitive.

The Modernist period encouraged broad generalisations of society and the way the people within it behaved, which partly gave way to the Marxist way of life. It wasn’t until Postmodernism began to flourish, that individual identity became the dominant way of life. Postmodernism encouraged people to find and belong to a certain identity, with individual expression becoming more welcomed. This could be the reason for why everyone now has a Facebook profile, advertising their personality, likes, and disinterests. It has now become an integral part of all our identities, where you can now reduce an entire person’s life to a online site. This contrasts with the Modernist era, where society desired the idea of conforming to one ideal. It is now the polar opposite.

Modernism was what propelled society into the future, providing solutions to problems, and altogether forming a more unified, organised society. The idea of communism was an appealing one at this point in time. Yet World War one and two happened, and the realisation that the organisations that would catalyse future technological developments also held the potential to destroy the world with nuclear weapons meant that doubt was cast over the entire situation, giving way to Postmodernism.

Conclusion

On the one hand, Postmodernism has allowed society to develop individual nuances through beliefs, and challenge the sweeping assumptions and generalisations that are perpetuated through Modernism. Postmodernism has developed a new epoch of art and media that catalyses individual expression and identity.

However, like David Foster Wallace mentions, this deconstruction of governing conceptualisation and perpetuation of increasingly significant individual expression has consequently led us down a path of narcissism, cynicism, and ultimately isolation.

By adopting certain traits from both movements, such as the optimism and sincerity of Modernism, and the individual expression and identity of Postmodernism, a symbiotic like relationship could be created, both mutually benefiting from each other.

References

Breton, A., 1924. Le Manifeste du Surrealisme. 1st ed. Sontag, S., 1977. On Photography. 1st ed. New York: Penguin Modern Classics. Wallace, F, S., 1993. E Unibus Pluram: Television and U.S. Fiction. Sontag, S., 1966. Against Interpretation. Cambridge English Dictionary, 2018.

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Journalism shoot development

I wanted to develop the shoot from the journalsim project in a more personal way that would explore the perspectives of the bully and the victim. I wanted to explore the notion of power, especially in the form of an online conflict. This was something I realised would be difficult given the fact that the conflict would take place on a computer screen. I did not want to simply photograph a screen, because that would be incredibly mundane. Instead, I thought about what separates the victim from the bully, once you take the computer out of the formula. It was at this point that I realised that there is no element of physical advantage here, and that if I were to take a photograph of each senario, they would look exactly the same. This caused me to think about the similarities, that being the environment of the two parties. I needed to photograph this in a way that would then be able to be used in a news article format, so this seemed like a good idea, given the many uses of the proposed image.

This was the result of my imagining of what each senario might look like. There are several questions that I wanted to be put across in the image. There is clearly a blurred line between who’s environment this is. It could just as easily belong to he bully or the victim, making the idea of cyberbullying somewhat futile. 

The computer sits in the center of the frame, given its significance in the circumstance, with the surroundings representing that of the to parties; Indiscriminate, and unnasuming.

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Irrelevent yet Dependant - Final images