Visit Falmouth, take part in workshops and have work critiqued – at least that was the original intent. A COVID-19 pandemic put an end to F2F for myself.
Some engagement is/was possible through online delivery.
Zed Nelson Q&A (Thursday evening)
It was somewhat strange attending a Q&A for a film premier not seen. Nevertheless, being familiar with the area of London, the subject of the film meant it was possible to get the gist and follow along.
Guest Lecture Jo Coombes
A presentation on carbon footprint and zero carbon shooting or filming.
A selection of slides Jo Coombes from Canvas Lecture
Guest Lectures Saturday Toby Smith
Although aimed at climate change, the subject matter centred on effective campaign communications based on social science or indeed marketing.
The parallel with my project work is taken and guidelines are extracted that may improved the messaging.
Keywords were taken as narrative, authenticity trusted communicators, identity and values and apply to my FMP project.
Another important element to my FMP is with the negative messaging of loss to have a positive for people to switch their emotions to.
Strong stories are about us: our pride and strength. The FMP project is driven thus.
The Principles 1-7 above have an impact on the FMP Project. Initially, Principle 1-5 seemed the most applicable to my messaging but so too does Audience Platform in the FMP project case around Exhibition versus, book or basically the range of ways of going public.
Mention was made of Fairness and this takes me back to a course I attended on Fairness in the Environment presented by Leeds University. This went into a lot more of the principles of fairness and ran as a two-week course.
Guest Lecture Professor Gary McLeod – Iwate
On the subject of aftermath photography, we were shown current research work around connecting with the tsunami torn areas of Japan. Out of respect, we were asked not to record images.
What resonated here in this fast-moving presentation was mention of spatial and temporal subject matter which resonate with my interest in and around photography.
It is always interesting to see Gary’s visuals from Japan as culturally the signs (semiotics) are vastly different from what is seen in Western cultures.
There is a useful Blog that has an older item from 2018 from the Broadcasting Health and Disease Conference.
A successful visit was made during the Being Human exhibition.
Wellcome Library Reading Rooms
“Glass Microbiology” Luke Jerram, 2014
l-r “Ebola”, “Giardia”, “MRSA”
photographs Michael Turner
These glass sculptures “challenge the virulent artificially-coloured depictions of bacteria and viruses seen in the media and popular culture.” Examples of the media representations with colour can be found in (Salter, 2017)
There is an ongoing tendency to fall into engaging conversations with artists and others. On this occasion, it was a certain Patricia who engaged in conversation around arts, whilst setting out easels for a class as I photographed the above. Subject matter ranged widely across subjects such as contextualisation, the so-called, death of the author, and Portrait Gallery open sketching sessions (my first ever portrait black paper white pencil):
The Being Human Permanent Exhibition – Genetics
Here on display was a CRISPR gene-editing kit. CRISPR allows cost-effective gene editing or even biohacking. Alongside is a portable gene sequencer as a smartphone app and attachment. Since the human genome was sequenced at the turn of the millennium, gene editing and sequencing has become portable and cost-effective. Devices have come out of the specialist laboratory and are entering the public consciousness. Such images lend to the genetic contextualisation of the abstract photo project.
A number of references were identified.
- Trauma (in relation to close relatives, of victims of war, who withdrew emotionally) (Kolk, 2015)
- Art in Science (in relation to the photo project visual contextualisation) (Salter, 2017)
Kolk, B. Van Der (2015) The Body Keeps the Score Mind, Brain and Body in the Transformation of Trauma. Penguin. Great Britain: Penguin Random House UK. Available at: http://www.greenpenguin.co.uk.
Salter, C. (2017) science is beautiful disease and medicine under the microscope. London, [England]: Batsford. Available at: http://www.pavilionbooks.com.
Photographs Michael Turner 2019 unless work is otherwise attributed
In pursuing a World War 1 theme, or having done so, it would make sense to expand on the photo projects context by building a stock of images and other research. This was done earlier at IWM Duxford (IWM, 2019) and The Black Watch Castle and Museum Perth. These visits proved useful in contextualising abstract work.
Options have recently been generated to expand themes in new directions in other words, other than military. In the interests of keeping shooting, it would be useful to visit a number of sites.
- Imperial War Museum London
- The Museum of Military Medicine, Aldershot
- Wellcome Library
Black_Watch_Museum_Trust (2018) The Black Watch Castle and Museum Perth. Available at: https://theblackwatch.co.uk/about/.
IWM (2019) Imperial War Museum Duxford. Available at: https://www.iwm.org.uk/visits/iwm-duxford.
IWM (2019) Imperial War Museum London. Available at: https://www.iwm.org.uk/visits/iwm-london.
Museum_of_Military_Medicine_Trust (2019) Museum of Military Medicine. Available at: https://museumofmilitarymedicine.org.uk/.
Wellcome_Trust (2019) Wellcome Library. Available at: https://wellcomelibrary.org/.
During the Assessment Period we saw a visit to Unseen Amsterdam. I engaged in the following:
- warm up exercise
- visit to Huis Amsterdam
- social nearby then on to dinner
- initial visit to Unseen bookfair
- individual then group visit to Eliot Halls Gallery
- visit Unseen
- social dinner
- portfolio review
- met bitcoin developer
Returned to UK
After a delay or mix up in communications (a message I never received), I had not seen some feedback. Given how rapidly my (and others) work has evolved in my case in little more than a week, it proved rather vital. I forever remind of the time and attention that goes into my work being akin to painting.
Anyway, improvements continue as I now separate out from my work the colour work or celebration of life. I’m now focussed down on war and loss and also have a more consistent colour palette, mostly black and white and the red of blood.
There is so much more balance than at any point during the whole 12 weeks of the module. The change was straightforward to implement as it meant reducing to 18 prints, these now I decided to group as triptychs.
I’m sure I will return to my saturated colour work, if that theme takes off in future.
The print in the figure above is a bit small to read so here is the website link. This gives a statement alongside the images.
I found I was never entirely certain as to the bounds of acceptability to the University of mix and presentation of images. It is basically clear. Near the end I overproduced on prints and could tell from a dry run of my Landings 2019 exhibition. This provided interesting interaction especially as my facsimile of the exhibition in a portable box gathered quite a lot of attention.
Learning was about how other photographers read some of the images and the hanging plan. The black and white exhibition catalogue received positive comment.
As it was an informal look at the work I learned it is best to set out the large prints first as a string of one very informed question after another on top of other competing interactions meant I didn’t get as far as a full hanging of either the prints or miniatures. As an impromptu show it was very lively indeed which played to my interests in the social interaction around photography in general.
Given the consolidation down to 18 prints I should be able to show all of the miniatures on a table top, instead of having to actively handle them – not enough hands. I’m undecided on two points. I would like to replicate the miniatures with a back binding, to tie each triptych into a set of three. I’ve had demands for both and I know what works best for me as I get lesser activity while trying to answer questions (binding would suit me). In critique the loose miniatures with some spare images in reserve I find always works better for the reviewer. If I have time I’ll have both. I couldn’t have done this before today due to fixing the narrative line.
I will report back as I gather more learning of gallery versus portable context of how different surfaces work.
As for my abstract re-photography those three images fell out of the mix at this point in time. I couldn’t shoehorn them in without visibly weakening the portfolio.
A case of work ethic versus visual sensitivity and decision making.
A final point, is will I get back to that abstract only world that I truly favour? A case of growing specialisation. I have a increasing number of my colour abstract images and have a growing hints of commercial value to them this past 9 months. I don’t think that can be ignored given the limited returns gained in general photography.
I think of the greatest Scottish landscape photographer and maker of stereograph cards, George Washington Wilson who created a very successful business and reputation before health failed him and the Inland Revenue ravaged the business handed on to his family in a major test case in which almost all was sadly lost then tide and time and technology moved on.
Reflections on Surfaces
There are numerous learning points regarding the making. The intent was to place the surfaces on a trajectory that led to the deliverable assignments for the Surfaces and Strategies module of the MA Photography course.
So how is learning shaping up in terms of the different production methods and contexts I’ve engaged in?
Now I can make publications in dummy form. Additional time and effort would allow many of the finishing touched to be added e.g. page numbers and cover jacket etc.
It has been a real pleasure to take the images from the digital domain and see them in print. I used ZINK 2×3 prints in a portable version of the exhibition, black and white print on matte paper which was also a joy and on gloss paper for the main exhibition.
I had an intent to use backlighting and was halted by the cost of LED light boxes. However, I discoverd that my gloss prints on 280 weight paper allows light to pass through from the back. As a result of this discovery I’ll take two examples and print and mount them for backlighting using studio lights.
During a visit to Arles Les Recontres del la Photographie I recorded many examples of backlighting and hanging and display methods and now have my own accessible and cost effective method.
I plan to use my ready made videos. One is an old vimeo recording that is very short that creates an ambience. The second is the Week 2 Hollywood style trailer I made that [rovides additional context. It’ll be great to see all these parts collected together. I have a feeling of theatre in the making.
What I look forward to is unexpected reactions and comments from and interactions with visitors to the exhibition space. I have to thank my Studio Owner for providing access to the space.
The practicalities of running the the exhibition as staff is that I’ll be overloaded with managing the studio space and fronting the work. It will be a stretch but is going to be exciting.
The exhibition in a box with its new content, I plan to take out on the road. It will go to Bristol for crtique and I have several other venues to go to including groups of walking friends who probably wouldn’t make the journey to the Studio. There is an art interest amongst these folks which I enjoy in conversation and I’m always being asked to show more work. Another visit I’d like to take the box is to a hospital. I can if appropriate interact with someone who has now been a long time there.
I question the culture of gallery exhibition in making the portable version and already I can see how much farther it can reach at the same time as being more tangible than web based presentation.
I have a set of 2×3 prints as handouts or for charitable sale. The mini printer I use and a set of precut cards have been prepared for printing and mounting as orders on demand. I will see how this additional interaction fares – I predict it should go really well although it is another job on top of everything else. It will be very worthwhile.
I’m experimenting with something I was advised to drop, that of pointing a smartphone at an image to play a 15 second video. Were into bells, whistles and I have to work out how well considered this is. Given the biology involved in my work maybe I can get away with the 15 second video of a protein cell research using computational biology. It is easy to pass over, but I think I want to find out how audience reacts.
Image grouping is a late addition to the visual language used. A third gallery template has been selected that nearly works. By dropping the heavy borders that crept in for black and white printing of the exhibition catalogue the web. I’ve taken on board the need for file variants esentially for each surface of display.
The challenge in using Portfoliobox relates to variable sizing as can be see clearly here: WIP Portfolio. The sizing is overcome in the figure below by creating one large summary file of the hanging plan.
Surface – Exhibition
fig: Title: Glow – Hanging Plan for Landings 2019
In this work, the characteristic glow we emit in healing and bodily repair helps identify with ancestors who perished in a Great War. The work is at the intersection of biology, photography and art.
Archive images develop a visual language for the work.
Career experience in analogue, digital and computing technologies is a constant in the subject area of this photographic imagery. Career also placed me in the theatre exploited in this imagery.
Fold-out book of exhibition prints
And so to make a fold-out book of the above hanging plan.
Surface – Publications
I’ve modelled publication four in my series of adventures this module.
- practice handbinding of perfect bound block
- my book of locks for the Ed Ruscha activity
- my exhibition catalogue (black and white)
- my exhibition prints as fold-out (colour)
I’ve imposed the page order and structure and printed the folding sheets. It is loose bound at the minute as it is secondary to the assignements and I can see how much time and care is needed to cut and sew and glue.
At this stage I’m pleased with the weight of the assembled printed papers but predict the structure might be unweildy on the binding. Already I’m thinking that I should move to A2 paper and fold that in a more sympathetic manner towards a secure binding. Put it all down to practice and learning experience.
Surface – Presentation
My attempt at using the Pareto or 80:20 principle was an optimistic way of engaging my time. The presentation surface was not exactly culled but has had to progress really informally. I’m bound to get a moment during the exhibition and especially after assignment hand-in.
I have practice at doing this informally in the studio environment and I’ll presenbt as the opportunity warrants. The idea would be to demonstrate an end to end image capture through processing to print.
I’d describe also how I use DNA as my theme of information carrier if there was interest and explain how collaboration can be made to work.
Something I want to do when I find the space in my schedule is to longer term look out for others (friends) who specialise in abstract painting and photography and friends who like to make books (or portable exhibitions).
Rather than mingle with a wider general audience, it could be set the world on fire to meet other specialists.
Into the Image World
Week 4 Webinar: You Make Meaning
In the webinar this week you will be considering the intent and authorship of your own practice and how you construct your work for a presumed audience and context.
Intent – the work I do makes common over family as diaspora. This is where it starts and continues.
Under the MA, there is influence to take this forward and expand context.
A major element of the taught work I thought initially I could not use in my work at least until I translate what I’ve learnt from pictorial work into abstract imagery.
Presumed audience – this starts out as family and extended family
Context – recently the book returned as strong context (I had tried to move the work way beyond this to challenge myself. I have to consider the signification in other contexts). A possible exhibition is a strong maybe.
You will informally present your thoughts and relevant examples of your practice to your peers and tutor. You should try to contextualise your reflections with other relevant visual material and critical ideas.
Identify aspects of this week’s content that have / could influence your own developing practice.
Main influence this week is reading of Photography and Cinema – David Campney
- Narrative, La Jette
Also, Representation – Stuart Hall – in respect of culture, society, communication
For example, you might choose to:
Examine your own work in the context of any common / disparate interpretations emerging in the forum: So Where is the Author Now?
The taught part was on case studies around advertising. I rejected advertising up until now as a poorly regulated/implemented endeavour. I might change if adverts teach me how to get my work to transmit signifiers guided by author intent.
Reflect on any important peer feedback you received in the forum: Viewers Make Meaning.
Photograph posted and commented upon by a fellow student. Different photography – different abstraction – different intent – yet same theme emerged. This confirms author interpretation carries forward naturally into work.
Provide examples of relevant practices you think are successful in achieving their intent.
Abstract method 1 is readily supported and works. It works again in combination with further layering and it is trace. It connects with critical reviewer is the sense I get. As commented recently, I can create such representations quite simply now and for the MA I was looking do achieve something more challenging.
Abstract method 2 is successful in creating visually stimulating (beautiful) images. It works in combination with Abstract method 1 in toning down. These images tend not to fit the theme in call and response titling of trauma and are more inclined to celebration of a theme of life’s force.
From ongoing experimentation variations in abstract style have been introduced this week
Abstract method 3 monochromatic from 1 or 2 with optional colour filter and
Abstract method 4 monochrome from 1 or 2 with spot colour.
Narrative Call and Response works really well: brief, dramatic in rhythm and to the point. Allows depiction of mental trauma.
Lighting the skin – discussion took place in a studio context of gelled lighting and skin tone (for different models). Actually, I might bring out the gels as a way of enhancing my work.
Explain why you think this is.
Images don’t naturally make a narrative, but
Discuss the intent of your own work and reflect on how successful you think this is.
Recognise gaps in childhood communication loved ones to child. Complete those gaps many decades later.
Analyse the audience and context in which your work should be viewed.
Family or by identification other families.
Evaluate how meaning might change with context.
Let’s get the core solidly set and plan for other contexts what I term MA “influenced” contextualisation.
Week 4 CRJ: Independent Reflection
Week 4 Activity: Viewers Make Meaning
A fellow student wrote:
This is an enigmatic image which could carry multiple meanings. There are soft-edged abstract shapes in the foreground, on a background which itself appears to have a layer of soft blurring shadow – it reminded me of a rain storm crossing an expanse of water. On the ‘horizon’ a pinprick glow guided my eye like a distant ship or lighthouse, perhaps symbolic of a search. To me, this reflected a sense of lost-ness – a small dot in a large space. The kite-like shape seems to pull upwards as if wanting to lift, and the dark shape is underscored by a reddish version of a similar shape, like a reverse shadow. The lower part of the image, the tail of the ‘kite’, is slightly disjointed, and at first appears distorted by water or by an effect of technical interference. The darker shape perhaps shadows or masks something that the viewer is prevented from knowing fully.
Another fellow student wrote
Nice work Michael, added black and red to image constructs it a little more on a different plane. Seems it adds depth, and I don’t mean physically, I mean emotionally, it’s trying to show something.
Horizon pin light: ‘most very amazing!’ That tiny light speck as powerful a draw, if not more so than the black square. Malevich would be proud.
This image sits apart from my normal work being different photography, different abstraction and different initial intent. Surprisingly (or comfortingly?) the interpretation offered takes the theme right back to practice.
Waxing lyrical on the second review:
Sometimes stuff is intuitive and now having read the crit about emotional depth, I have to be honest and admit constructing the remark in response along the lines of seeking. Not knowing what. Knowing it is nearby. Removing and replacing. Leaving trace of having looked and not found.
Jesse reminds us in the P&P module of how sometimes the author writes of their photography in such imaginative terms that often do not convey through the actual image. #inturmoil
Earlier mention before of crossing over that mental border, resonates still. And you know, (there’s adopted phraseology), it is something that leaks out and almost unawares. Something to be feared. A desperation to never let go and yet in self defeat becomes inevitable.
Week 4 Presentation 2: ‘His’ and ‘Hers’ – The Gendered Ad
In this presentation we examined gendered advertisements of camera manufacturers and a watch manufacturer and in the former saw a range of objectification, and sexualisation of women and then recognition of independent women as a market and compared this to family themed advertising of a watches.
As for the watch advertisements of family, the photographs are divide by gender and with such a family biased message being given it is hard to claim the ads are more gendered than a family might ordinarily be. Maybe male bonding then female bonding might be taken as transmission of existing ideals of gender. This is probably the most neutral permutation of family members and avoids complications or questions yet promotes a continuation of a very conservative family unit. It does not challenge change in any way as it maintains a sense of status quo. It would become more political if women’s independence was to be promoted for the young girl with her mother. I mention this as many might claim there is still a long way to go is removing stereotypes. However, the stereotypes may be recognised by the readers the ads are aimed at and so satisfy a dominant reading.
An ad with interesting relationship to gender
As a convert to advertising only this week, it would be false to suddenly be very knowledgeable especially having only recently been introduced to semiotics in any detail. To be fair I did read about semiotics in Barthes Camera Lucida in an earlier term, but this is my first opportunity to practice, Accordingly, I’ve judged the following as an interesting gendered case but also one that at first seemed reasonably straightforward at by comparison to other cases that could have been used.
The chosen ad is for Harry Winston jewellery. The ad was placed in the Economist 1843 magazine
I’ll look out for signifier (denotational) and determine the signified (connotational).
Two diamond encrusted rings of generous size are featured. A quality desk with a collection of books with gold edging and a contrasting white page with illustration of a ring are shown. The text sends a message of rarity and the reader is invited to act and discover the classic collection. The brand comprises the names Harry and Winston.
The viewer is watch as if looking at a representation of their own desk. They are treated as though educated and knowledgeable and perhaps a professional from Law for example. The person addressed is deemed to be wealthy and in the current times could equally be a successful woman or successful man. The product is intended for a woman. A decision seems to be illustrated by the printed illustration of a ring and a choice perhaps is being considered over the alternative shapes. This perhaps indicates a very busy professional is being addressed and so to help them, they are already tuned to deciding as this is the expensive and quality product they should purchase and helpfully they are prompted to decide on their choice. What more help could be given to ease the purchase. Absence of pricing is only proper as it is clear with wealth it is not necessary to ask the price. The name Harry is famous in England as the nickname of a powerful King and is combined with the name Winston a vey respected British war leader. There is nothing ot question. The brand is very high quality.
The interesting thing that immediately catches your attention is that we have jewellery intended for a female but with opposite gender product branding. This must signify that the product is good enough for a named person to have put their own name to it. Nevertheless it is quite a masculine brand. Maybe it is aimed at the man as purchaser, given the higher numbers of wealthy professional men to women.
Week 4 Presentation 1: Looking for Signs
From this presentation on signs we determine the signifier (denotational) and the signified (connotational) and seek out a common visual language. It is important to become skilled in this reading to improve our own practice. Signs used in ads are full, and formed for optimum reading, whilst being frank or at least empathetic.
So how does this apply to my practice? In my portfolio I theme on remembering ancestors by relating present day injury abstracts to their trauma. Images form into several (potentially too many groups or sub themes) and has been noted in one critique. There is trauma/injury, there is a them of the life glow we emit as a direct biological representation of others in the past and there is trauma as highly coloured imagery that has a different fit again. There is another emerging representation from further experimentation at a time of reduced numbers of injuries. There is scope to analyse signified and signifier amongst these different visual representations as a way of achieving the objectives around signs in the previous paragraph.
There may be an element of the obvious yet there is need for growing awareness as intuitively and through review we can see that the visual language needs to be better formed.
Week 4 Module Leader Sessions
Week 4 Module Leader / Group Tutorial
We had an extended lecture on the subject of Gaze.
We looked at Scopic drive, and began by counting numerous gazes in a film clip from American Beauty. To the count we added the viewers gaze. The presentation illustrated forms of gaze and objectification with mention of feminist viewpoints with perspectives generally balanced.
Apart from more direct forms of gaze a really insidious form is that of the Imperial Gaze. I’d encountered the Imperial position more generally in terms of land use in some earlier studies. The Imperial Gaze, is something we are due to learn more about in Week 5.
We were presented with quite a lot of explicit sexualised material with different gender perspectives. Well, it is a liberal arts course that we study. Regarding the explicit, internet traffic is driven by pornography, I learned elsewhere. The images and ideas we encountered in the presentation were quite edgy but likely mild given that examples in the main were from released film clips and earlier era adverts. Attitudes had changed in the intervening period.
Throughout I was reminded of a Freudian interpretation of gaze, where as baby, we look out and yet are unable to control the things we see, being unable to move towards and interact. In terms of basic nurturing and survival I’d assume that the baby, irrespective of gender, would be attracted to its source of protection, warmth and food not even realising at the earliest stages that the mother is a separate entity. Babies in this argument are programmed for survival and behaviours are reinforced in the baby-mother bond.
This behavioural response initially carries forward into the growing individual. However, it then becomes difficult to exploit this argument further and so we have to turn to another explanation. There is the realisation that as human animals we are programmed for reproduction and hormonal differences then (usually) develop and according to gender, possibly modified by lifestyle and life’s pressures, i.e. how we live and behave amongst others we mix within and those we spectate.
Some species mate openly and the strategy for attraction and the use of dominance is open. In humans it is different. There is an argument around fertility where humans have the ability to reproduce all year round. There is then a behaviour where signs are hidden and this generally would mean covering up. So whilst nudity is quite natural it would not be welcomed if it gave away mating opportunity signs say. This would vary by individual no doubt. If we are programmed to recognise and react at a basal level without full cognition, other than guilt over societies generally acceptable levels of behaviour and where these are often legally enforceable. So a potentially dangerous game for the unruly. The consciousness mind is left to react to signs give through verbalisation and other physical behaviours. Dance is an overt example.
As described, this becomes a game with many uncertainties with risks of misinterpreting signals in respect of society or cultural norms. We now especially live in a developed society with economic advantages and choices not known in the past. Self actualisation and freedoms across a broad range of choices are now there to enjoy and such freedoms need to be upheld. Meanwhile modern life develops so fast it is not clear if the two or three generations it may take to adapt behaviour, is consistent with rates of change. Some will recall the summer of love and the accepted norms in the decade that followed alongside empowerment though new methods of birth control. We are only entering the third generation since those times and with living memory of the times, the impetus is to reject former ways, to castaway or even deny life’s earlier experiences in favour of progress.
Given the circumstances, you’d image there would be pressure all round even when trying to conform to new behaviours. Modern communications are awash with interest group impositions concerning (unenforced) Political correctness and new moral codes. If we return to the gaze then both natural display and natural reaction can fall foul of the modern standards.
Feminist viewpoints have been tested against these arguments or observations in the past alongside other points and still they may cause push back. That can be politic and done on principle. It might just be that reliance upon argument of the human animals programmed survival and reproduction behaviour is invalid if seen to be lenient, open to exploitation and if not representative of the cognitive minds ability to exercise self control. Particularly with the Gaze, it is difficult to know if it can always be or even should be stifled if it is what humans do.
Week 4 Module Leader Office Hours
The previous Friday Guest presentation by Matthew Murray was discussed. It was said that given the circumstances of upbringing our guest was a shining example of getting a break in the industry and making progress to the highest levels.
Our guest was seen to be very honest and open.
Starting as a child with a basic camera that created parallax errors and tended to cut off or hard crop portraits, he began a personal style that in recent years has gained popularity.
Normal practice would be to frame the portrait deliberately rather than leave the cropping to chance. It would be counter-intuitive to create such hard crops across the neck or slice through the top of the head. Photographers properly or classically trained would no doubt find this counter-intuitive and so missed the opportunity to use hard cropping as an established style.
Mention was made of this week’s reading, David Campany, Photography and Cinema (Campany, 2008). David was also a guest lecture and the recording should be in the archive <not found> .
The Face to Face at Falmouth was mentioned. There will still be lectures etc running as normal. It would make sense to front load work to fit it in. F2F attendance is optional.
A note had been sent out summarising the purpose of the different opportunities to connect with the course from Guest Lectures, and Group Tutorials through to Tutor Webinars.
Campany, D. (2008) Photography and cinema. London: Reaktion. Available at: http://ezproxy.falmouth.ac.uk/login?url=http://site.ebrary.com/lib/falmouth/Doc?id=10430640.
Week 4 Forum: So Where is the Author Now?
I took this in two parts. First I had a lot of baggage around advertising and rejected it almost outright at the same time knowing it is impossible in practice to avoid advertising influence.
I then got back on track with the task of selecting example ads for oppositional, negotiated and dominant readings.
Part 1 – unravelling attitudes
I tend to tune out advertising as an intrusion on a valuable commodity, time.
I tend to stand back and view advertising from a structuralist perspective when it intrudes. When advertising claims are made they can often fail examination or be seen to include bias.
On an associated subject of branding, it is clear that meanings are consumed. When overseas it is not always possible to know what the brands are. Is the roadside Carrefour a supermarket chain or something else? I can’t find breakfast cereal on a shops shelves and settle for something different that is a little experimental. So abroad it becomes clear as to what it is we have absorbed at home without realising it. So we bring our own meaning and it might easily fail us.
Dominant reading would be that a particular brand of computing and mobile equipment is intuitive to use and designed around the person using the equipment. Competitors have sacrificed their business model for the data driven approach that pilfers personal data for financial advantage. This alone justifies paying more for the products.
Oppositional reading would-be towards money-making schemes that encourage selling a share in a property (equity release) in return for cash now. The advertising proceeds in the face of expert analysis that the industry is built on a poor foundation as there is insufficient funding long term to sustain these companies thus creating a climate of financial risk. The next big financial idea set to collapse over the next decade.
Negotiated reading, I initially thought would be the starting position for all advertising when giving advertising a chance. Of late, examination of a supplier’s claim was found to misrepresent. Even when given a chance suppliers can let themselves down. Online ordering and delivery from an internet market place was given a negotiated reading but again there were tricks being played. So even in shutting out advertising and letting it in only on special occasions, it sadly proved untrustworthy and is demoted to oppositional reading.
An aside really but an explanation as to why adverts get shut out:
In a money making advertising world there are many issues around data processing as well as variable pricing models and offers that disadvantage existing customers who must surely pay for the offers.So whatever picture and text is presented are the claims sustainable in practice.
An allied point is that of the individual paying for services that include standing charges and data charges and advertisers intrude on this serving advertisements.
Part 2 the task: oppositional, negotiated and dominant readings
Post made was lost in the act of saving. Here is the abbreviated version:
Clockwise from top: negotiated, oppositional, dominant.
Rafael Nadal advertising Giorgio Armani clothing was a negotiated reading in keeping an open mind over the male reading of an ad more likely aimed at the female fanbase?
The NETJETS ad had lots of signs of negotiated reading for a convenient family friendly service, nicely composed, turning to oppositional due to the frequency of private flights that go over at low altitude creating nuisance by distraction.
The watch ad, has text and styled image giving personal appeal leading to a dominant reading. At twenty grand a time piece though, the lack of calendar function is a downer.
Week 4 Introduction: Into the Image World
My practice is not from the world of advertising but images I create within practice and for competition do benefit from appropriate titling to guide the viewers attention, to aid their interpretation and occasionally to try to say something borderline profound if at all possible or simply entertaining.
A number of the examples of advertising we examined are a couple of decades old now and different in style to modern approaches. Probably the least avoidable adverts are on the walls of tube stations, or alongside escalators and inside carriages alongside the transport route map.
In that environment I’d be more interested in the move to electronic billboard advertising to figure out what new creative methods abound. In the case of illustrated strip advertising alongside the tube route maps over how innovative the advertiser can be in such a restrained space.
About Barthes (who continues to be quoted)
As I spend more time reading and make a closer pass of the work of Barthes the philosophy makes clear sense. In this case claims made, communicate. Elsewhere and by recollection it is understood that Barthes had a tendency to switch interest at will as he followed a smorgasbord of intellectual interests. What Barthes did produce on the subject of photography is insightful although ripe for revision. The technological world continues to march on. So what of the selfie or cameraphone photography and public news gathering / citizen journalism, the gradual fall of printed media, the rise of cinema, then video alongside television, as well as the internet and the worldwide web.