dimanche 13 janvier 2013
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Les lumières mélangées.
Pourquoi ce fil d'intérêt, toujours retrouvé, que touche-t-il? Sans doute une histoire des approfondissements d'identité par la diversité. Exercice, mouvement, développement, de la lumière, ou photographie.
mardi 8 janvier 2013
Chaque
Tiens, cette syntaxe étrange, tensive, de "chaque" et "chacun/e" : entre le singulier et le pluriel, posé sur un distributif, et le bord-même de passage de l'un dans le plusieurs. Ces effets d'orthographe qui tendent la logique : chacun d'eux, chacune d'elles.
De même, Anon. Peuple spécifié, distribué, et circulant.
Que, bien entendu, dans chaque il y a tout - système et rythme même. Ce mystère anthropologique du social qui structure le sujet, son individualité même et sa séparation. Le gen.
Chaque étant l'écheveau même.
Toujours cette redécouverte. Qui fait aussi qu'Haïti est un ici.
De même, Anon. Peuple spécifié, distribué, et circulant.
Que, bien entendu, dans chaque il y a tout - système et rythme même. Ce mystère anthropologique du social qui structure le sujet, son individualité même et sa séparation. Le gen.
Chaque étant l'écheveau même.
Toujours cette redécouverte. Qui fait aussi qu'Haïti est un ici.
dimanche 6 janvier 2013
Aveek Sen
En lisant sur Dayanita Singh, je découvre le travail de Sunil Khilnani sur la photo, mais aussi Aveek Sen.
Et, au fil, Still Searching, ouvert il y a un an."Online discourse on Photography", par le Fotomuseum de Winterthur.
Avec, " develops into a meaningful network by plugging into existing communities" : ce réseau.
Et, au fil, Still Searching, ouvert il y a un an."Online discourse on Photography", par le Fotomuseum de Winterthur.
Avec, " develops into a meaningful network by plugging into existing communities" : ce réseau.
Aveek Sen is Senior Assistant Editor of The Telegraph, Kolkata. He was a lecturer in English at St Hilda’s College, Oxford, and won the 2009 Infinity Award for Writing on Photography from the International Centre of Photography, New York. He has written on Dayanita Singh in Dayanita Singh and contributed text to Dayanita’s work, House Of Love.
vendredi 4 janvier 2013
mercredi 2 janvier 2013
dimanche 30 décembre 2012
Note on 2012 - image, seeing, understanding
Note : the slight dismay this (highly photographic) year, to find I have no single bright picture to make into a card for the 2013 New Year wishes.
Images have become less important, for one. But there's a discomfort certainly in finding that the result of defocusing on the image does (un)consist in having nothing in the eye.
And the "scene" moment, less familiar now. Possibly a Brooklyn, 2006 experience then? Dependent on the quality of light (luminotherapy a year in New York, for sure), but dependent on a peculiar configuration of desire or hunger too - the lengthening perspective seems to teach this. A novel view on. Consider this. Being here, knitting myself into a present I suppose (although the narrative flattens the complexity of the period - which promises more riches in understanding, long mulling over and revolving the lights of) : and then, the curiosity of taking the "here" on its necessary course. Curiouser.
There's still the renfrogné feel of the Canon, and the tough negotiation with the whole subject/image programme. Not exactly caught in this (noticeable when reading the several, cumulative voices in Witness in Our Time, Ken Light, for ex., where I find myself with a measure of freedom from and puzzlement in the trope, how it shoud be so ingrained). But photography for, rather than about. "I want to see" : knit myself in the "world", find "how it is" that there is no "in", understand understand know know know.
Clear index with the amount of text ici-même.
Images have become less important, for one. But there's a discomfort certainly in finding that the result of defocusing on the image does (un)consist in having nothing in the eye.
And the "scene" moment, less familiar now. Possibly a Brooklyn, 2006 experience then? Dependent on the quality of light (luminotherapy a year in New York, for sure), but dependent on a peculiar configuration of desire or hunger too - the lengthening perspective seems to teach this. A novel view on. Consider this. Being here, knitting myself into a present I suppose (although the narrative flattens the complexity of the period - which promises more riches in understanding, long mulling over and revolving the lights of) : and then, the curiosity of taking the "here" on its necessary course. Curiouser.
There's still the renfrogné feel of the Canon, and the tough negotiation with the whole subject/image programme. Not exactly caught in this (noticeable when reading the several, cumulative voices in Witness in Our Time, Ken Light, for ex., where I find myself with a measure of freedom from and puzzlement in the trope, how it shoud be so ingrained). But photography for, rather than about. "I want to see" : knit myself in the "world", find "how it is" that there is no "in", understand understand know know know.
Clear index with the amount of text ici-même.
vendredi 28 décembre 2012
I want to see
Rassérénée après passage chez Prophot - la familiarité avec ce monde, d'un - mais surtout l'équipement en écran & calibration.
Fringale de précision de la vue, de transparence limpidité, de pénétration ; d'articulation. "Clarity", Arbus.
Fringale de précision de la vue, de transparence limpidité, de pénétration ; d'articulation. "Clarity", Arbus.
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