Whose Meaning Is it Anyway? FORUM & MODULE SEMINAR
Post to the Forum:
This was an advertisement in 2013 for a drive safe campaign created by The Frontier Post to help create awareness for road accidents. I experienced the dominant reading that was the intended purpose of this advert.
The semiotics here are cleverly used to create illusion. Initially, you see the shape of a gun, with the text showing that a life is taken every 25 seconds. Once the viewer comprehends that the shape of a gun is a set of car keys with the relationship between this image and the statement showing that car accidents are a cause of death, it makes the statistics evident that safer driving is the issue.
Roland Barthes (1977) argues:
The birth of the Reader must be at the cost of the death of the Author (Barthes, 1977: 148)
Post to the Forum below:
Comments from my peers:
I believe they're trees and a path, but maybe they're not. The photo leaves me with nostalgia, calmness and an unquenchable thirst for clarity, like a half-forgotten memory of a place eroded with time. If I were to take a stab at your intention, I would say it was to resemble a feeling of a memory of a place.
Wistful, nostalgic, conjours the idea of memory and things lost. Almost "hiraeth" - the bittersweet knowledge you can't revisit a place. (Sorry to actual Welsh speakers - this is my understanding of a word that can't be translated.)
I can see trees, with a lot of noise. More blur on the left t han the right, which would be consistent with a long exposure whilst going round a curve.
It looks like a track in front with snow or vegetation down the middle and sides. On closer inspection it looks like vegetation. as you can see fronds at the end. It might be infrared, or having heard you chat more likely pin-hole.
The view, more blurred at the bottom, has an indexical linkage to the view one might expect if one fainted and collapsed.
In an earlier week we were taught 'E. H. Gombrich ... states that illusionistic images are not those derived from nature but, instead, are those which have been so made that under certain conditions they will confirm certain hypotheses which one would formulate, and find confirmed, when looking at the original scene.'
Which is interesting because I doubt if I saw the original scene I would even think of the view as I collapsed
I can only guess at your intent but my guess would be you are showing us the forest holds secrets. Your blurred shot definitely leaves questions unanswered as to what we are seeing. A pin sharp, perfectly lit, shot might delude us that there is nothing left to discover if we walked down the line of sight.
This image is great. I love the haze static type quality that seems to overlay what I assume to be trees in nature, I sense that the bottom is a shadow, or my eyes, make it out to be a shadow, but the more I look at it, it resembles a face like a portly man with a fu manchu, and trees growing out of his head.
In your webinar this week you are asked to consider the intent and authorship of your own practice and how you construct your work for a presumed audience and context.
You will reflect on your peers' interpretations of your photograph and consider how you might adapt your photographic practice (visually / technically / conceptually) as a response to this feedback.
After the Webinar
Deborah Barker (In Paradiso), Ingrid Weyland (Topographies of Fragility), Helen Sear, Dafna Talmor. Out of these the work of Ingrid Weyland particularly resonated with me as through the materiality of the printed image she highlight’s the violent damage caused to nature by manipulating and distorting her photographed landscapes. I can see this as a medium I could use within my research project looking at Time, Memory and Mortality as using the scrunched-up images within the landscape acts as a visual metaphor for ‘that which has been’ and represents mortality.
Ingrid Weyland - Topographies of Fragility I, 2019
What are your action points? Where are you going next?
I feel this week my intent has been strengthened and I have now found my ‘voice’ of looking at Time, Memory and Mortality reflecting my own experiences. I think this has given me my ‘Why?’. I now intend to stick with Intentional Camera Movement to give a focus and cohesion to my work, but will refine my work by using different strategies with exposure times, infrared, pinhole photography and layering to explore the subtle differences in the resulting images and the feelings they are likely to evoke in the viewer.
A summary of the independent research I have undertaken this week is below:
Gerhard Richter - https://www.gerhard-richter.com/en/art/paintings/photo-paintings/landscapes-14/?&categoryid=14&p=1&sp=32
Movement through layering:
Idris Khan - https://www.saatchigallery.com/artist/idris_khan
Stephanie Jung - http://www.stephaniejung-photography.com/nature#0
“Trees are sanctuaries. Whoever knows how to speak to them, whoever knows how to listen to them, can learn the truth. They do not preach learning and precepts, they preach, undeterred by particulars, the ancient law of life.”
― Hermann Hesse,Wandering
Tacita Dean - https://www.tate.org.uk/art/artworks/dean-majesty-t12805
Sonja Braas - https://www.sonjabraas.com/you-are-here
Gustav Willeit - https://www.guworld.com/_plata/index.html
Ingrid Weyland - https://www.artsy.net/artist/ingrid-weyland/works-for-sale
How Photography Impacts the Psychology of Attention and Visual Processing:
Movement, Layering and trees are all an important part of my current work, although I am growing more interested in exploring the idea of constructed landscapes and will consider this as a future direction.
Photos from week 4