An Apparition of Memory
https://christopheguye.com/shop/an-apparition-of-memory
https://christopheguye.com/artists/brigitte-lustenberger/biography
Category: 4: Collaboration
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Sanne de Wilde
http://sannedewilde.com/
Part 2: ‘The Island of the Colorblind’ was turned into an immersive painting-installation that is meant to make the viewer experience what it is like to be/paint colorblind. The installation takes the idea of cooperatively creating content with subject and viewer another step further. The space the viewer enters, consists of four walls covered in 4 infrared wallpapers, picturing the Micronesian island, on the inside. On the outside it is a ‘work in progress’ that grows as participants pin the painting they made on the wall outside when leaving the space. Visitors entering the room are invited to sit down. On the table in front of them they find a set of headphones, paint, water and brushes and printed pictures. As they put on the headphones a voice guides them through the painting-process while telling them the story of the colorblind community on the island Pingelap. The text of the audio used in “The Island of the Colorblind -painting installation’’ is based on the mythical story of how the islanders believe colorblindness came to the island and is mixed with quotes and questions that came up during the painting sessions with the achromats.
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Nick Knight
https://www.nickknight.com/press/inewsrfmg
And it puts me directly in contact with the very large audiences of Weibo, Twitter, Facebook, SHOWstudio, Tumblr, and Instagram. I am getting through to them all instantly, and they, in turn, have all elected to see my photographs. It’s their feedback that makes it so exciting.
I find working with Instagram because of its spontaneity, so refreshing. Sometimes I want to work in a very considered and meticulous way but sometimes I don’t and Instagram affords me that little bit of personal freedom. I am unencumbered. It’s reignited a love for photography.
“Photography is often blamed, unfairly and incorrectly, in my opinion,” he says. “People are so distrustful of Photoshop, as if it’s some way of making people feel bad, that they’re being lied to. Even the word manipulation is negative, it’s one of the words that Kanye would cross out in the dictionary when he was taking out the bad words.
“Photography is a fantasy, there is no reality. So, the idea that photography, or image making, is in any way an abstract version of truth, is false. Photographers who are really good at their craft manipulate everything, because of course they do. All the great painters manipulate with their vision because you don’t want to see reality from me – you want to see what I see that you can’t see. That’s what makes it exciting.”
“Knight is at the forefront of democratising photography and re-establishing its place in our social-media saturated lives.”
Flora
Roses from my Garden
https://www.nickknight.com/press/nick-knight-flora “If you step back and look at these images they’re very reminiscent of the Dutch flower painters of the 17th century, there’s a romance to them: they’re soft and gentle.
“But if you stand close to them, you can inspect the structure the AI has invented and see they’re actually quite mechanical, brutal and tough. And I love that.
i News – Rhiannon Williams (2021)
Nick Knight cuts selected roses straight from his garden and arranges them specifically, using only daylight to illuminate his subject. Photographed on an iPhone, the digital images are enlarged and filtered through software that uses AI to infill the space between pixels. What appears at first glance to be a historical approach to flower photography is actually at the very cutting edge of imaging technology.
Uses iPhone to photograph roses from his garden on his kitchen table. “He applies an Instagram filter (either Sierra or Hudson for the initiated, though he also dabbles with Ludwig) and plays around with colour and contrast before running the image through Topaz Labs, AI photography software that sharpens unfocused areas, and spending hours poring over the composite picture with his retoucher Mark.
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Olivia Parker
Olivia Parker (born 1941) is a Manchester-by-the-Sea-based American still-life photographer.
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Natasha Myers
Natasha Myers is Associate Professor of Anthropology at York University.
She convened the Plant Studies Collaboratory in 2010 to serve as a node for collaborative interdisciplinary research on plant-based ecologies and economies.
Her first book, Rendering Life Molecular: Models, Modelers, and Excitable Matter (Duke 2015) is an ethnography of an interdisciplinary group of scientists who make living substance come to matter at the molecular scale. This book maps protein modeling techniques in the context of the ongoing molecularization of life in the biosciences. It explores how protein modelers’ multidimensional data forms are shifting the cusp of visibility, the contours of the biological imagination, and the nature of living substance. What, it asks, does life become in their hands?
Becoming Sensor in Sentient Worlds
I like to think of art practices as forms of dissensus that can rearrange our sensoria and sense making. I think about disrupting the intention of the camera, the logic of the grid in ecology, and producing data forms that cannot be arrayed along a chart or graph, that resist quantitative analysis. Becoming Sensor is about disrupting modes of attention and forms of knowing about the more-than-human that are so entrenched in settler common sense. It’s a kind of de-schooling, an unlearning, which can help us forget everything that we thought we knew about “nature.”
Plants also provoke rethinking the senses, sensing, and sense making. People tend to think plants can’t communicate because they have no eyes, ears, or mouths. We wanted to render our bodies available to sensing plant sentience, sensing what plants are up to, how they move and grow, and tune into their sensibilities and gestures.
https://culanth.org/fieldsights/becoming-sensor-an-interview-with-natasha-myers
Becoming Sensor is about disrupting modes of attention and forms of knowing about the more-than-human that are so entrenched in settler common sense. It’s a kind of de-schooling, an unlearning, which can help us forget everything that we thought we knew about “nature.”
EVANS, Meredith. 2020. “Becoming Sensor in the Planthroposcene: An Interview with Natasha Myers.
Art in the Planthroposcene: Refuse the aesthetics of ruin porn, which constrains our imaginaries about plants expressing their powers to sites of cultural decay and times of human extinction. Cultivate, instead, a taste for Planthroposcene porn: art that keeps people in the game by staging intimate relations among plants and people. MYERS, Natasha. October 2018 p.9.
Becoming Sensor aims to make strange the ways that the conventional ecological sciences have not only been deployed to colonize land, but also to colonize our imaginations; how they evacuate all other ways of knowing the living world, most especially those local and Indigenous knowledges that are attuned to the sentience of lands and bodies.
Contact
website: https://natashamyers.wordpress.com
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Stephen Gill
Overview
https://www.stephengill.co.uk/portfolio/portfolio/nggallery/album-1-2/Night-Procession/thumbnails
“Stephen Gill has learnt this: to haunt the places that haunt him. His photo-accumulations demonstrate a tender vision factored out of experience; alert, watchful, not overeager, wary of that mendacious conceit, ‘closure’. There is always flow, momentum, the sense of a man passing through a place that delights him. A sense of stepping down, immediate engagement, politic exchange. Then he remounts the bicycle and away. Loving retrievals, like a letter to a friend, never possession… What I like about Stephen Gill is that he has learnt to give us only as much as we need, the bones of the bones of the bones…”
Iain SinclairStephen Gill (b. 1971, Bristol, UK) became interested in photography in his early childhood, thanks to his father and interest in insects and initial obsession with collecting bits of pond life to inspect under his microscope.
https://www.stephengill.co.uk/portfolio/portfolio/nggallery/album-1-2/Night-Procession/thumbnails
Please Notify the Sun
https://www.facebook.com/watch/?v=147976830509294
https://www.stephengill.co.uk/portfolio/portfolio/nggallery/album/please-notify-the-sun/thumbnails
night procession
Ghostly images of animals caught in trailcam footage.
https://www.nobodybooks.com/product/night-procession-portfolio
Birds
Photographs of single birds in everyday locations. The birds themselves are photographed very small, so the viewer has to search through the images of urban decay to find them.
https://www.nobodybooks.com/product/birds-portfolio
The Pillar
Birds taking off, and flying around a post in a field.
https://www.nobodybooks.com/product/the-pillar-portfolio
Pigeons
Abstract
Photographs of light filtered through colourful gloops and textures, apparently of decaying substances.
https://www.nobodybooks.com/product/please-notify-the-sun-portfolio
A series of disappointments
Scrumpled newspaper looking like animals and figures.
https://www.nobodybooks.com/product/a-series-of-disappointments-portfolio
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Mapping and Other Technologies
A ‘map’ isn’t necessarily something used to navigate through unfamiliar territory; it’s also a visual ordering of features and information…a means of making sense of our physical surroundings in new ways. Alexander 2013 p67
Liz Nicol the Rubber Band Project (1997)
Ian Brown’s series Walking the Land (2007)
Other artists and photographers who layer numerous different photographs include Idris Khan, Jon Spencer and Isidro Ramirez.
Creative possibilities have been opened up by digital technologies like:
- Google Earth (2005): allows users to make a journey to literally anywhere in the world from the comfort of their computer, scrolling around sites of interest from the vantage point of Google’s satellite images.
- Google Street View (2007): is limited in terms of its global coverage, but provides a more intimate, street-level view of our landscape.
‘Stay-at-home street photographers’ who have used these images – trawling through endless Street View images, framing and selecting these digital views as their own photographs – as a form of ‘appropriation’ art include: