Simon;
I've found taking photographs rewarding because the camera seems to have a mind
of its own. Even a digital camera is still a "magic lantern."
As for writing code, I personally agree with you. The computer to me is a tool;
although, to paraphrase the poet Gary Snyder, "Tools. Now there's a subject!"
-Joel
----- Original Message -----
From: Simon Mclennan
To: bob catchpole ; NetBehaviour for networked distributed creativity
Sent: Sunday, January 15, 2012 8:55 AM
Subject: Re: [NetBehaviour] fail better
Very very interesting that this has been commented on so much.
I suspect the reason is that this is a web based forum with contributers who
have some stake in new media ie freakin boring computers (I say this as a one
time street artist and latecomer to computers) and so when somebody picks up a
paint brush it's like woo hoo how exotic.
Personally I still find the idea of programming a computer incredibly boring
- however I give you guys some slack and say cool if you want to make code into
poetry. To me a machine is merely an end to a means, in this case artistic
expression.
Lets all paint paint paint - make a big bonfire of cameras - they were always
a con ;)
Simon
On 15 Jan 2012, at 16:27, bob catchpole wrote:
Michael,
I disagree with John Baldessari. Painting and photography are radically
different picture-making processes - one is based on synthesis and the other on
selection. In a painting or drawing you start with nothing and have to add. In
photography you start with everything and have to extract.
Your drawing are strong because they capture something about you.
Bob
--------------------------------------------------------------------------
From: Michael Szpakowski <[email protected]>
To: NetBehaviour for networked distributed creativity
<[email protected]>
Sent: Sunday, 15 January 2012, 15:11
Subject: Re: [NetBehaviour] fail better
Once again thanks for the interesting, helpful and encouraging responses.
I feel strangely the same when I point my camera at something and when I
do a sketch "in the moment" - I'm quite impressed by Patrick Maynard's argument
which seems to be that drawing and photography are essentially both just
processes of mark making....
I think I could quite quickly produce you a photo of a unicorn actually -
I'm deeply sceptical about all the indexical , one-one correspondence to
reality - blather about photos. It was pretty much never the defining feature (
ask Joe Stalin) and it certainly isn't now.
Moreover I'm not convinced that when I draw I'm any less a "mechanism" of
some kind for creating a kind of map of at least some parts of reality than I
am when I photograph (or remix photos which is something I've been doing a
lot). I'm with Baldessari who scratched his head ( I'm dramatising of course
and quoting from memory here) and said he couldn't really see that much
difference between painting and photographs...
Anyway, theory aside, that I should get such kind and helpful feedback is
one of the reasons I love netbehaviour :)
warm wishes
michael
OK -just found it:
John Baldessari : “A photograph and a painting are essentially the same
thing. One is just a series of pigments in emulsifier put down on canvas, while
the other is silver nitrate deposits put down on paper. There is very little
difference between the two.”
--------------------------------------------------------------------------
From: Perry Bard <[email protected]>
To: NetBehaviour for networked distributed creativity
<[email protected]>
Sent: Sunday, January 15, 2012 1:53 PM
Subject: Re: [NetBehaviour] fail better
Last night a philosopher friend Nick Pappas and I had this very
conversation-about the properties of photo vs painting and drawing. WJT
Mitchell in Intention and Artifice isolates an essential difference- the
referent adheres in a photo- you can paint a unicorn but not photograph one
(irrefutable, no?). Nick argued that a camera is an object- you point and
record, even if you make a mistake or someone jostles your hand you record a
specific moment in time whereas a drawing records a moment in consciousness.
Perry
On Sun, Jan 15, 2012 at 8:19 AM, Annie Abrahams <[email protected]>
wrote:
I do think Michael you have a lot of formal technique - the way you
chose, frame and compose the image, the way you look at things is very
"sophisticated".
I was wondering what for you makes these drawings so different from
your photos? Why do you want to do it?
Is it a question of time? of attention?of meditation? of trying to
grasp something in a world too full of information?
For me your drawings are full of time and
they are brave
I love to see them.
Annie
On Sun, Jan 15, 2012 at 1:56 PM, Rob Myers <[email protected]> wrote:
On 14/01/12 17:00, Michael Szpakowski wrote:
> thank-you Joel...
> I don't honestly know how I expect people to react. I'm pretty
obsessed
> at the moment...
> I know that drawing is something I really want to keep doing.
> warm wishes
> michael
You have a good eye for form, space and tone. As someone who's an
enthusiastic rather than a competent draughtsperson I really admire
what
you are doing here. Do keep doing!
- Rob.
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Extrait en photo et son de la performance HUIS-CLOS / NO EXIT Training
for a Better World
http://www.documentary-art.net/tag/watch-now.php?&ref=344
Plus de photos :
http://www.flickr.com/photos/bramorg/sets/72157628514083331/
"Die Ewigkeit/ L'éternité", Antye GREIE / Annie ABRAHAMS - DUET - SATZ
4 - Rêves / Utopia / Dreams http://vimeo.com/33907750
http://www.bram.org
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http://dziga.perrybard.net
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