photography

Identidad

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Vives donde vives,
trabajas en lo que trabajas,
hablas como hablas,
comes lo que comes,
llevas la ropa que llevas,
miras las imágenes que ves…

Cada uno vive como puede.
Uno es quien es

“Identidad”…
de una persona,
de una cosa,
de un lugar.

“Identidad”
La palabra en sí me estremece.
Suena a calma, comodidad, satisfacción.
¿Qué es la identidad?
¿Saber de dónde eres?
¿Conocer tu valía?
¿Saber quién eres?
¿Cómo se reconoce la identidad?
Nos estamos creando una imagen de nosotros mismos,
tratamos de parecernos a ella…
¿Es eso lo que llamamos identidad?
¿El acuerdo
entre la imagen que hemos creado
de nosotros mismos
y… nosotros mismos?
¿Quién es ese “nosotros”?

Vivimos en las ciudades.
Las ciudades viven en nosotros…
el tiempo pasa.
Nos mudamos de una ciudad a otra,
de un país a otro.
Cambiamos idiomas,
cambiamos de hábitos,
cambiamos de opiniones,
cambiamos de ropa,
lo cambiamos todo.
Todo cambia. Y deprisa.
Las imágenes sobre todo,
cambian más y más rápidamente,
y se han estado multiplicando a un ritmo infernal desde la explosión que desató la aparición de las imágenes electrónicas.
Las mismas imágenes que están ahora sustituyendo a la fotografía.
Hemos aprendido a confiar en la imagen fotográfica.
¿Podemos confiar en la imagen electrónica?
Con la pintura todo era sencillo.
El original era único y cada copia era una copia, una falsificación.
Con la fotografía y el cine empezó a complicarse.
El original era un negativo.
Sin una copia no existía.
Justo lo contrario.
Cada copia era el original.
Pero ahora con las imágenes electrónicas y el sonido digital ya no existe ni el negativo ni el positivo.
La idea del original está obsoleta.
Todo es una copia.

“Notebook on cities and clothes”, Wim Wenders.

fachadas

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Ángel González García. Cuatro lecciones sobre Mark Rothko (II)(II) “A propósito de Mark Rothko (II)” 19/11/1987

…

¿Y es Nueva York la ciudad más hermosa del mundo?
No dista mucho de serlo. No hay noches urbanas como las suyas. He contemplado a la ciudad desde la altura de ciertas ventanas. Es cuando los grandes edificios pierden realidad y asumen sus poderes mágicos. Son incorpóreos, es decir que uno no ve sino las ventanas encendidas.
Cuadrado en llamas tras cuadrado en llamas, engastados en el éter. Aquí hay poesía, pues hemos hecho descender a las estrellas (…)

Patria Mía. Ezra Pound (1885 – 1972)

 

Mark Rothko, Underground Fantasy, c. 1940, oil on canvas, Gift of The Mark Rothko Foundation, Inc., 1986.43.130

 

Sandra Lousada. Rothko Exhibition 1961 at The Whitechapel Gallery London.

 

Entrance to Subway (Subway Station / Subway Scene)1938 by Mark Rothko

 

Mark Rothko – Entrance to a Subway (1938)

 

Rothko Exhibition 1961 at The Whitechapel Gallery London. Sandra Lousada became a photographer in the late 1950s.

 

Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada
Rothko Exhibition 1961 – Sandra Lousada

 

Mark Rothko at Whitechapel Gallery, 1961; photo: Sandra Lousada

 

Mark Rothko Untitled [Woman in Subway], 1936
Mark Rothko (1903-1970), Subway, 1935, c/o Pictoright Amsterdam 2011. Oil on canvas, 24 x 18 in. Collection Kate Rothko Prizel.

 

Installation view of Mark Rothko, Portland Art Museum

 

Mark Rothko. 1964.

 

“I also hang the pictures low rather than high, and particularly in the case of the largest ones, often as close to the floor as is feasible, for that is the way they are painted.”

Mark Rothko

Instadialectics

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Photo by @codycobb

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British Cops Want to Use AI to Spot Porn—But It Keeps Mistaking Desert Pics for Nudes

“Sometimes it comes up with a desert and it thinks its an indecent image or pornography,” Mark Stokes, the department’s head of digital and electronics forensics, recently told The Telegraph. “For some reason, lots of people have screen-savers of deserts and it picks it up thinking it is skin colour.”

…

Presents "Body landscape" By : @silvazquezphotography Congratulations and thanks for tagging #minimalism42. Check out this artists gallery for more awesome minimal shots! ________ @minimalism42 is a part of the @surreal42 (#surreal42) family. Follow @minimalism42 and tag your minimal creations to #minimalism42 for a chance to be featured. _________ Feature selected by @whispersaroundatree _________ #minimal #minimalism #surreal_minimalism #lightedlight #creative_minimalism #body #minimalchile #minimalha #lessismore #minimalzine #subjectivelyobjective #thisveryinstant #collecmag #somewheremagazine #abstractexpressionism #postthepeople #rentalmag #myfeatureshoot #lensculture #burnmagazine #oftheafternoon #verybusymag #ourmag #thisaintartschool #highsnobiety #seekthesimplicity #odtakeovers #archivecollectivemag

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“El algoritmo de la policía londinense no distingue un desierto de un desnudo.” (…) “Cuando el programa debía señalar o “flaggear” a personas desnudas fallaba y por mucho, demostrando poseer una mirada especialmente pecaminosa.” (…) “Confundía imágenes del desierto y sinuosas dunas de arena con piel humana, con cuerpos desnudos.”

https://www.instagram.com/p/Bf8zcw9BLmy/?hl=es&taken-by=rentalmagazine

-Send dunes.

Haut/Hide

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Modernity brings along the search for evidence, fact and truth, and therefore the rationalization of society (Peet, 1998:194). This implies that the world can be categorized – hence, that the course of time and of life can be divided into meaningful stages or phases. Postmodernists, on the contrary, reject the idea of absolute truth and argue that there is no truth outside interpretation (Kitchin & Tate, 2000:16). According to Peet (1998:195), in postmodern philosophy, “modern reason is reinterpreted critically as a mode of social control which acts openly through disciplinary institutions, in more disguised forms through rational socialization and, most subtly, through rational self-discipline.” Hence, postmodern thinking is concerned with developing an attitude towards knowledge, methods and law-like truths (Kitchin & Tate, 2000:16). Liminality, in this sense, should be regarded as a political tool, an arbitrary method to categorize people; the meaning of which, in fact, exists only by the grace of the collectivity that has accepted the categories before and after the liminal stage.

 

Theoretically, thus, the concept of liminality has received a different, more critical meaning with the shift to postmodernism. However, this has not been the most important development. As postmodernists argue that truth is a matter of interpretation, ‘categories’ can be recognized in the eye of the beholder (that is, of the researcher). I intend to show that, as a result, researchers have added more and more ‘liminal stages’ to the average person’s course of life. In a sense, postmodernists may even argue that the whole of social life is a continuous liminal process. Along with the fact that several authors argue that life has become more and more complex and fragmentized (Castells, 2000:3; see also Walther & Stauber, 2002), with overlapping phases, daily routines, roles, etcetera, it becomes obvious that the concept’s interpretation may have broken somewhat adrift. It can be disputable if a situation that is labeled ‘liminal’ shows indeed characteristics of ‘original’ liminality, for example in regard of the ritual context of the concept.

Conceptualizing ‘in between-ness’
Master Thesis of Human Geography
Supervisor: Dr. H. van Houtum
Co-reviewer: Dr. O. Kramsch
Jasper Balduk
Nijmegen, June 2008

peripeteia

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VICKY VICTORIA (2016). Mapa visual con imágenes halladas en Internet y en el archivo familiar. / Visual Map built up with images found on the web and family photo-archive. 120×80 cm.

En un contexto social en el que el espacio público y la memoria histórica se hallan en deriva, se evidencia la imperiosa necesidad de reinvención de la noción de lo común. Resulta para ello imprescindible llevar a cabo un ejercicio de reflexión crítica, poniendo en cuestión lo habitual, lo asumido como natural dentro de nuestra cotidianidad.

In a social context in which public space and historical memory are drifting, an urgent need to reinvent the notion of the commons is evidenced. It is essential to carry out an exercise of critical reflection, questioning the habitual and taken-for-granted, all what is assumed as natural in our daily lives.
Monumento del Arco de la Victoria de Moncloa. / Victory Arch of Moncloa (Madrid).
Establecer un diálogo en relación al espacio público, la memoria y el arte, generando conexiones virtuales. / To establish a dialogue on public space, memory and art, creating virtual connections.
Fotografías de Albert Louis Deschamps tomadas a las pocas horas de la entrada de las tropas de Franco en Madrid a finales de marzo de 1939. En la imagen vemos el viaducto de Cantarranas o de los Quince Ojos, una de las estructuras que Eduardo Torroja Miret (1899-1961) construyó en la Ciudad Universitaria antes de la guerra. / Albert Louis Deschamp’s photographs taken a few hours after the entry of Franco’s troops in Madrid in late March 1939. The picture shows the Cantarranas or Fifteen Eyes Viaduct, one of the structures that Eduardo Torroja (1899-1961) built in the University City of Madrid before the war.

Paseo por una guerra antigua: memoria fragmentaria from B Prummer on Vimeo.

Un hombre mutilado camina, apoyándose en una muleta, por la Ciudad Universitaria de Madrid, donde perdió una pierna, recordando lo ocurrido durante la Guerra Civil…

Montaje realizado a partir del material grabado como práctica de fin de curso 1948-49 del IIEC por Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.

Dirección: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Argumento y guión: Luis García Berlanga, Juan Antonio Bardem, Florentino Soria y Agustín Navarro.
Fotografía: Antonio Navarro Linares (B/N).
Reparto: Agustín Lamas.
Año de producción: 1949

Bridge

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“The power of a country road when one is walking along it is different from the power it has when one is flying over it by airplane. In the same way, the power of a text when it is read is different from the power it has when it is copied out. The airplane passenger sees only how the road pushes through the landscape, how it unfolds according to the same laws as the terrain surrounding it. Only he who walks the road on foot learns the power it commands, and of how, from the very scenery that for the flier is only the unfurled plain, it calls forth distances, belvederes, clearings, prospects at each of its turns like a commander deploying soldiers at a front. Only the copied text thus commands the soul of him who is occupied with it, whereas the mere reader never discovers the new aspects of his inner self that are opened by the text, that road cut through the interior jungle forever closing behind it: because the reader follows the movement of his mind in the free flight of daydreaming, whereas the copier submits it to command. The Chinese practice of copying books was thus an incomparable guarantee of literary culture, and the transcript a key to China’s enigmas.”

Walter Benjamin’s, Chinese Curios from his essay One Way Street; p. 49.

Anamnesis

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The artist struggling whith ellipses in a still life may end up with a painting dotted with doughnut-like formations that are supposed to represent the rims of cylindrical vessels.

Some ellipses appear lop-sided, others look like UFOs. In several cases, the ellipses appear to inhabit a different space to that of the vessel concerned.

How can the artist overcome the problem of painting ellipses on objects?

The still life artist may find painting ellipses difficult to avoid, as many household objects contain ellipses. The list is endless: vases, teacups, teapots, mugs, urns, saucers, eggcups, tankards, dishes, pots, pipes, cake tins, wine glasses and bottles.

This can be a headache for the artist wishing to steer clear of such elements. But the hurdle of drawing ellipses is a common one which can be overcome. Before making improvements, the following practices need to be addressed, including the most common issue, giving the ellipse corners.

Drawing the ellipse asymmetrically. The ellipse might slant to one side resulting in a tear-shaped ellipse.

Another common mistake is illustrating the rim of the vessel as a single line without suggesting any depth to the rim depicted.

Rendering dark lines around the ellipse, even though lines cannot always be discerned on areas on the actual rim.

Failing to accord the base of the cylindrical object with the rim at the top, resulting in a vessel that appears to inhabit two areas of space at the same time. A common example is drawing the base of the cylinder as a straight line, and the ellipse at the top as an ovoid.

The Ultimate Oil Painting Solution: For Landscape Art, Portraiture and Still Life by Rachel Shirley.