Saturday, June 6, 2009
Saturday, May 30, 2009
Final Project
I am doing my final project based on an event I have gone to for the last 7 years.
It is called the Gathering.
When the people who run it started it, they said they would do it for 10 years and this year was the final year.
Eventing has been a big part of my life since I was 7, which is when my father took me to my first SCA event. I went off and on as a kid until I started going on my own at 16 to events. Since then, I have gone to at least one event a year.
It has also spawned me doing my own event, called the Blackthorne Revel, every year. But starting this year, I am only doing it every other year.
It is called the Gathering.
When the people who run it started it, they said they would do it for 10 years and this year was the final year.
Eventing has been a big part of my life since I was 7, which is when my father took me to my first SCA event. I went off and on as a kid until I started going on my own at 16 to events. Since then, I have gone to at least one event a year.
It has also spawned me doing my own event, called the Blackthorne Revel, every year. But starting this year, I am only doing it every other year.
Tuesday, May 19, 2009
Saturday, May 16, 2009
Chapter 5 - Visual Technologies, Image Reproductions and the Copy
"One way of understanding the history of imaging technologies has been to examine how the introduction of a particular invention, such as the photographic camera, changed things in the world(by changing the way we see, or changing how we use images, and so forth)." - pages 183-184.
The invention of the photographic camera gave us the leap forward in what we believed was real. Animals, people and places could now be photographed as proof of their existence. This was in a time when airplanes did not exist so the only form of crossing oceans was by boat, which could take up to a week, and places that could not be traveled to by car were unknown to the majority of the world's population. Photographs of the time were taken as empirical proof.
"The introduction of sequential photography and motion pictures film in the late 1800s corresponded with an increased desire to visualize movement in increasingly mobile and fast-paced society of the late-nineteenth-century modernity. "- pages 185-186
The thought of movement thru moving pictures was considered a novelty to the wealth. Scientist saw it as a valuable way to understand the motion of animals and ourselves, giving us a better understanding of how our bodies work and move. It also fed our thirst for new technologies.
"The juxtaposition or combination of two images to create a third meaning, a concept based on the dialectic ( the idea that each meaning builds on the previous one to create a more comprehensive meaning) and theorized famously by Soviet filmmaker Sergei Eisenstein, remains a central component of understanding how films make meaning." - page 189
Films in a way are nothing more than a large set of montages. Backdrops and scenery lend to a movie a sense that helps us believe or not believe a story. Older silent films relied on such things heavily because they were limited to the inserted text, unlike the movies we are all used to. The leap to sound changed our movie going experience forever. We no longer relied on backdrops or scenery to understand what was going on, but their role in the movies remained unchanged.
"Photography offers neither the direct touch not the direct look of the artist on the work in its process of production." - page 193
Photography is just that, photograph. There is no brush strokes. No pencil lines. Photography capture what is there, nothing more. This was the case before the invention of digital cameras. Film camera have an unblinking eye that can't show you what isn't there and because of such, they were a very important tool for science and capturing the untouched wilds of the world before they were gone.
"Benjamin argued that the one-of-a-kind artwork has a particular aura. Its value is derived from its uniqueness and its role in ritual, meaning that it may carry a kind of sacred value whether religious or not." - page 195
It is this kind of sacred value that drives those with money to try and possess these kinds of works of art. But for what? That some of the artists fame or abilities might some how be imbued to the new owner? Or is it a false sense of prestige from knowing you had the kinda of money to throw away on an old painting?
I know some people would give me shocked looks at calling these "Works by the Masters" old paintings, but in truth that is what they are. While they maybe nearly flawless, with invisible brush strokes done by a very artistic hand, at the end of the day, they are still just paintings that have survived a long time.
Which begs the question, What will be considered sacred works of art in 100 years? Or 200?
"It is central to this concept that reproduction allows images to circulate with political meaning and that mechanically or electronically reproduced images can be in many places simultaneously and can be combined with text or other images or reworked." -page 199
Reproductions give those who would otherwise not see such things in real life, the ability to see them up close. Reworking an image allow others to express their feelings towards social climates, political parties and government policies while staying anonymous.
Either of which are things that should be universally acceptable, but they aren't. Taking one of the "Works by the Masters" and reducing it to a common everyday image made our of everyday materials, like legos, while fasinating, some people view it as sacrilege.
"Copyright, taken literally, means "right to copy". The term refers to not one but a bundle of rights. This bundle includes the right to distribute, produce, copy, display, perform, create, and control derivative works based on the original. ......... Copyright grants legal protection to the "expression of an idea", not the idea itself." - page 204
The invention of the photographic camera gave us the leap forward in what we believed was real. Animals, people and places could now be photographed as proof of their existence. This was in a time when airplanes did not exist so the only form of crossing oceans was by boat, which could take up to a week, and places that could not be traveled to by car were unknown to the majority of the world's population. Photographs of the time were taken as empirical proof.
"The introduction of sequential photography and motion pictures film in the late 1800s corresponded with an increased desire to visualize movement in increasingly mobile and fast-paced society of the late-nineteenth-century modernity. "- pages 185-186
The thought of movement thru moving pictures was considered a novelty to the wealth. Scientist saw it as a valuable way to understand the motion of animals and ourselves, giving us a better understanding of how our bodies work and move. It also fed our thirst for new technologies.
"The juxtaposition or combination of two images to create a third meaning, a concept based on the dialectic ( the idea that each meaning builds on the previous one to create a more comprehensive meaning) and theorized famously by Soviet filmmaker Sergei Eisenstein, remains a central component of understanding how films make meaning." - page 189
Films in a way are nothing more than a large set of montages. Backdrops and scenery lend to a movie a sense that helps us believe or not believe a story. Older silent films relied on such things heavily because they were limited to the inserted text, unlike the movies we are all used to. The leap to sound changed our movie going experience forever. We no longer relied on backdrops or scenery to understand what was going on, but their role in the movies remained unchanged.
"Photography offers neither the direct touch not the direct look of the artist on the work in its process of production." - page 193
Photography is just that, photograph. There is no brush strokes. No pencil lines. Photography capture what is there, nothing more. This was the case before the invention of digital cameras. Film camera have an unblinking eye that can't show you what isn't there and because of such, they were a very important tool for science and capturing the untouched wilds of the world before they were gone.
"Benjamin argued that the one-of-a-kind artwork has a particular aura. Its value is derived from its uniqueness and its role in ritual, meaning that it may carry a kind of sacred value whether religious or not." - page 195
It is this kind of sacred value that drives those with money to try and possess these kinds of works of art. But for what? That some of the artists fame or abilities might some how be imbued to the new owner? Or is it a false sense of prestige from knowing you had the kinda of money to throw away on an old painting?
I know some people would give me shocked looks at calling these "Works by the Masters" old paintings, but in truth that is what they are. While they maybe nearly flawless, with invisible brush strokes done by a very artistic hand, at the end of the day, they are still just paintings that have survived a long time.
Which begs the question, What will be considered sacred works of art in 100 years? Or 200?
"It is central to this concept that reproduction allows images to circulate with political meaning and that mechanically or electronically reproduced images can be in many places simultaneously and can be combined with text or other images or reworked." -page 199
Reproductions give those who would otherwise not see such things in real life, the ability to see them up close. Reworking an image allow others to express their feelings towards social climates, political parties and government policies while staying anonymous.
Either of which are things that should be universally acceptable, but they aren't. Taking one of the "Works by the Masters" and reducing it to a common everyday image made our of everyday materials, like legos, while fasinating, some people view it as sacrilege.
"Copyright, taken literally, means "right to copy". The term refers to not one but a bundle of rights. This bundle includes the right to distribute, produce, copy, display, perform, create, and control derivative works based on the original. ......... Copyright grants legal protection to the "expression of an idea", not the idea itself." - page 204
My KISS Collection
Collections are interesting things. Some people fall into randomly, others are something that perks the persons interest or shows pride in something. My mother in-law has several small collection: tea cups, blue glass and owls. Me, I collect unicorns, wolves and KISS memorabilia.
The KISS memorabilia started when I had a friend who was the manager of a Spencer's store. The first thing I bought was a guitar-shaped gumball holder, which I still have unopened. My collection quickly grew from that point on.
KISS is a band that has been going for nearly 40 years. The started the year before I was born and are still going strong. They have 40 albums.
But for me, it's about the music. I remember the first time I heard one of their songs, "Shout It Out Loud" from the Destroyer album, I was hooked. Destroyer was the first album I bought on vinyl LP. Destroyer had a song on the b-side that really took off in the 80's when Eric Carr redid it, "Beth".
I sucked up every bit if trivia I could find, most of which was odd little tidbits. One of which is that Gene never had anything done to his tongue, but he has had other "members" reduced in size.
I know the full line-up of the band. It has had some interesting ups and downs.
It started with Gene Simmons and Paul Stanley. Gene saw an ad in Rolling Stone placed by Peter Criss, a drummer “looking to do anything to make it”. January of 1973, Ace Frehley joins the band. The band takes off shortly there after and makes it big.
1980 rolls around, and creative conflicts almost spell the end. Each member puts out their own album under KISS and Peter Criss leaves the band. Eric's symbol is the fox. Eric Carr replaces him and is the drummer until his death in November 24, 1991.
1981, Ace Frehley leaves the band and is replaced by Vinnie Vincent. Vinnie's symbol is the Egyptian ankh. Vinnie leave in 1984 and is replaced by Mark St.John.
Mark St.John only does one album, Animalize. While on tour, Mark becomes ill and can't continue so Bruce Kulick took his place. Bruce stayed with KISS until 1996 when the original members of KISS decided to do a reunion tour.
Ok, enough rambling...
I guess the main reason I chose to collect KISS stuff was the sense of family that KISS Army has. From the 80's on, you could find long time KISS fans bringing their kids to the shows.
The last KISS concert I went to, in 2004, at least a 1/4 of the people there were under the age of 18.
It was also a very emotional concert for me. One of my younger sisters, who has serious heart problems, had wanted to goto a KISS concert with me before she died. I had some unexpected money come in, so I bought tickets for her, me and Darren, on of my partners, nearly center, half way back, of the venue.
It now includes:
Peter Criss Teddy Bear
2 sets of Lego - 1 with blood on Gene's face
1 set of book ends
1 water fountain
1 chip and dip bowl set
2 Halloween mask
1 lunchbox w/thermos
1 thermos
4 musical jack-in-the-boxes
6 small statue busts
1 mouse pad
1 metal lithograph sign
1 cover art print
1 small flag
1 small limited numbered statue
1 6ft wall poster
1 foldout xmas poster
1 bottle of Red Wine - Unopened
2 glass ball xmas ornaments
3 Packages of Incense
Complete Set of Psycho Circus Action Figures (1 signed)
Complete Set of KISS Alive Action Figures
CDs:
Double Platinum
Music From The Elder
Creatures Of The Night
Asylum
Crazy Nights
Smashes, Thrashes And Hits
Hot In The Shade
Revenge
KISS My Ass
MTV Unplugged
Psycho Circus
The Box Set
Carnival Of Souls: The Final Sessions
Greatest KISS
Limited Edition - KISS 15 years on
"Let's Put The 'X' In Sex" CD/Video single
Rock the Nation 2004 Concert CD From Clark County Amphitheater
Tapes:
Peter Criss
Killers
Music From The Elder
T-shirts
2003 Reunion Tour
Psycho Circus Tour
baby-doll shirt & pants set
The KISS memorabilia started when I had a friend who was the manager of a Spencer's store. The first thing I bought was a guitar-shaped gumball holder, which I still have unopened. My collection quickly grew from that point on.
KISS is a band that has been going for nearly 40 years. The started the year before I was born and are still going strong. They have 40 albums.
But for me, it's about the music. I remember the first time I heard one of their songs, "Shout It Out Loud" from the Destroyer album, I was hooked. Destroyer was the first album I bought on vinyl LP. Destroyer had a song on the b-side that really took off in the 80's when Eric Carr redid it, "Beth".
I sucked up every bit if trivia I could find, most of which was odd little tidbits. One of which is that Gene never had anything done to his tongue, but he has had other "members" reduced in size.
I know the full line-up of the band. It has had some interesting ups and downs.
It started with Gene Simmons and Paul Stanley. Gene saw an ad in Rolling Stone placed by Peter Criss, a drummer “looking to do anything to make it”. January of 1973, Ace Frehley joins the band. The band takes off shortly there after and makes it big.
1980 rolls around, and creative conflicts almost spell the end. Each member puts out their own album under KISS and Peter Criss leaves the band. Eric's symbol is the fox. Eric Carr replaces him and is the drummer until his death in November 24, 1991.
1981, Ace Frehley leaves the band and is replaced by Vinnie Vincent. Vinnie's symbol is the Egyptian ankh. Vinnie leave in 1984 and is replaced by Mark St.John.
Mark St.John only does one album, Animalize. While on tour, Mark becomes ill and can't continue so Bruce Kulick took his place. Bruce stayed with KISS until 1996 when the original members of KISS decided to do a reunion tour.
Ok, enough rambling...
I guess the main reason I chose to collect KISS stuff was the sense of family that KISS Army has. From the 80's on, you could find long time KISS fans bringing their kids to the shows.
The last KISS concert I went to, in 2004, at least a 1/4 of the people there were under the age of 18.
It was also a very emotional concert for me. One of my younger sisters, who has serious heart problems, had wanted to goto a KISS concert with me before she died. I had some unexpected money come in, so I bought tickets for her, me and Darren, on of my partners, nearly center, half way back, of the venue.
It now includes:
Peter Criss Teddy Bear
2 sets of Lego - 1 with blood on Gene's face
1 set of book ends
1 water fountain
1 chip and dip bowl set
2 Halloween mask
1 lunchbox w/thermos
1 thermos
4 musical jack-in-the-boxes
6 small statue busts
1 mouse pad
1 metal lithograph sign
1 cover art print
1 small flag
1 small limited numbered statue
1 6ft wall poster
1 foldout xmas poster
1 bottle of Red Wine - Unopened
2 glass ball xmas ornaments
3 Packages of Incense
Complete Set of Psycho Circus Action Figures (1 signed)
Complete Set of KISS Alive Action Figures
CDs:
Double Platinum
Music From The Elder
Creatures Of The Night
Asylum
Crazy Nights
Smashes, Thrashes And Hits
Hot In The Shade
Revenge
KISS My Ass
MTV Unplugged
Psycho Circus
The Box Set
Carnival Of Souls: The Final Sessions
Greatest KISS
Limited Edition - KISS 15 years on
"Let's Put The 'X' In Sex" CD/Video single
Rock the Nation 2004 Concert CD From Clark County Amphitheater
Tapes:
Peter Criss
Killers
Music From The Elder
T-shirts
2003 Reunion Tour
Psycho Circus Tour
baby-doll shirt & pants set
Wednesday, May 13, 2009
Irish student hoaxes world's media with fake quote
When Dublin university student Shane Fitzgerald posted a poetic but phony quote on Wikipedia, he said he was testing how our globalized, increasingly Internet-dependent media was upholding accuracy and accountability in an age of instant news.
His report card: Wikipedia passed. Journalism flunked.
The sociology major's made-up quote — which he added to the Wikipedia page of Maurice Jarre hours after the French composer's death March 28 — flew straight on to dozens of U.S. blogs and newspaper Web sites in Britain, Australia and India.
They used the fabricated material, Fitzgerald said, even though administrators at the free online encyclopedia quickly caught the quote's lack of attribution and removed it, but not quickly enough to keep some journalists from cutting and pasting it first.
A full month went by and nobody noticed the editorial fraud. So Fitzgerald told several media outlets in an e-mail and the corrections began.
"I was really shocked at the results from the experiment," Fitzgerald, 22, said Monday in an interview a week after one newspaper at fault, The Guardian of Britain, became the first to admit its obituarist lifted material straight from Wikipedia.
"I am 100 percent convinced that if I hadn't come forward, that quote would have gone down in history as something Maurice Jarre said, instead of something I made up," he said. "It would have become another example where, once anything is printed enough times in the media without challenge, it becomes fact."
So far, The Guardian is the only publication to make a public mea culpa, while others have eliminated or amended their online obituaries without any reference to the original version — or in a few cases, still are citing Fitzgerald's florid prose weeks after he pointed out its true origin.
"One could say my life itself has been one long soundtrack," Fitzgerald's fake Jarre quote read. "Music was my life, music brought me to life, and music is how I will be remembered long after I leave this life. When I die there will be a final waltz playing in my head that only I can hear."
Fitzgerald said one of his University College Dublin classes was exploring how quickly information was transmitted around the globe. His private concern was that, under pressure to produce news instantly, media outlets were increasingly relying on Internet sources — none more ubiquitous than the publicly edited Wikipedia.
When he saw British 24-hour news channels reporting the death of the triple Oscar-winning composer, Fitzgerald sensed what he called "a golden opportunity" for an experiment on media use of Wikipedia.
He said it took him less than 15 minutes to fabricate and place a quote calculated to appeal to obituary writers without distorting Jarre's actual life experiences.
If anything, Fitzgerald said, he expected newspapers to avoid his quote because it had no link to a source — and even might trigger alarms as "too good to be true." But many blogs and several newspapers used the quotes at the start or finish of their obituaries.
Wikipedia spokesman Jay Walsh said he appreciated the Dublin student's point, and said he agreed it was "distressing so see how quickly journalists would descend on that information without double-checking it."
"We always tell people: If you see that quote on Wikipedia, find it somewhere else too. He's identified a flaw," Walsh said in a telephone interview from Wikipedia's San Francisco base.
But Walsh said there were more responsible ways to measure journalists' use of Wikipedia than through well-timed sabotage of one of the site's 12 million listings. "Our network of volunteer editors do thankless work trying to provide the highest-quality information. They will be rightly perturbed and irritated about this," he said.
Fitzgerald stressed that Wikipedia's system requiring about 1,500 volunteer "administrators" and the wider public to spot bogus additions did its job, removing the quote three times within minutes or hours. It was journalists eager for a quick, pithy quote that was the problem.
He said the Guardian was the only publication to respond to him in detail and with remorse at its own editorial failing. Others, he said, treated him as a vandal.
"The moral of this story is not that journalists should avoid Wikipedia, but that they shouldn't use information they find there if it can't be traced back to a reliable primary source," said the readers' editor at the Guardian, Siobhain Butterworth, in the May 4 column that revealed Fitzgerald as the quote author.
Walsh said this was the first time to his knowledge that an academic researcher had placed false information on a Wikipedia listing specifically to test how the media would handle it.
His report card: Wikipedia passed. Journalism flunked.
The sociology major's made-up quote — which he added to the Wikipedia page of Maurice Jarre hours after the French composer's death March 28 — flew straight on to dozens of U.S. blogs and newspaper Web sites in Britain, Australia and India.
They used the fabricated material, Fitzgerald said, even though administrators at the free online encyclopedia quickly caught the quote's lack of attribution and removed it, but not quickly enough to keep some journalists from cutting and pasting it first.
A full month went by and nobody noticed the editorial fraud. So Fitzgerald told several media outlets in an e-mail and the corrections began.
"I was really shocked at the results from the experiment," Fitzgerald, 22, said Monday in an interview a week after one newspaper at fault, The Guardian of Britain, became the first to admit its obituarist lifted material straight from Wikipedia.
"I am 100 percent convinced that if I hadn't come forward, that quote would have gone down in history as something Maurice Jarre said, instead of something I made up," he said. "It would have become another example where, once anything is printed enough times in the media without challenge, it becomes fact."
So far, The Guardian is the only publication to make a public mea culpa, while others have eliminated or amended their online obituaries without any reference to the original version — or in a few cases, still are citing Fitzgerald's florid prose weeks after he pointed out its true origin.
"One could say my life itself has been one long soundtrack," Fitzgerald's fake Jarre quote read. "Music was my life, music brought me to life, and music is how I will be remembered long after I leave this life. When I die there will be a final waltz playing in my head that only I can hear."
Fitzgerald said one of his University College Dublin classes was exploring how quickly information was transmitted around the globe. His private concern was that, under pressure to produce news instantly, media outlets were increasingly relying on Internet sources — none more ubiquitous than the publicly edited Wikipedia.
When he saw British 24-hour news channels reporting the death of the triple Oscar-winning composer, Fitzgerald sensed what he called "a golden opportunity" for an experiment on media use of Wikipedia.
He said it took him less than 15 minutes to fabricate and place a quote calculated to appeal to obituary writers without distorting Jarre's actual life experiences.
If anything, Fitzgerald said, he expected newspapers to avoid his quote because it had no link to a source — and even might trigger alarms as "too good to be true." But many blogs and several newspapers used the quotes at the start or finish of their obituaries.
Wikipedia spokesman Jay Walsh said he appreciated the Dublin student's point, and said he agreed it was "distressing so see how quickly journalists would descend on that information without double-checking it."
"We always tell people: If you see that quote on Wikipedia, find it somewhere else too. He's identified a flaw," Walsh said in a telephone interview from Wikipedia's San Francisco base.
But Walsh said there were more responsible ways to measure journalists' use of Wikipedia than through well-timed sabotage of one of the site's 12 million listings. "Our network of volunteer editors do thankless work trying to provide the highest-quality information. They will be rightly perturbed and irritated about this," he said.
Fitzgerald stressed that Wikipedia's system requiring about 1,500 volunteer "administrators" and the wider public to spot bogus additions did its job, removing the quote three times within minutes or hours. It was journalists eager for a quick, pithy quote that was the problem.
He said the Guardian was the only publication to respond to him in detail and with remorse at its own editorial failing. Others, he said, treated him as a vandal.
"The moral of this story is not that journalists should avoid Wikipedia, but that they shouldn't use information they find there if it can't be traced back to a reliable primary source," said the readers' editor at the Guardian, Siobhain Butterworth, in the May 4 column that revealed Fitzgerald as the quote author.
Walsh said this was the first time to his knowledge that an academic researcher had placed false information on a Wikipedia listing specifically to test how the media would handle it.
Tuesday, May 12, 2009
T-Shirt Images
Front Image
Back images
I am unsure in which order or layout that I am gonna place them on the back or what size they are going to be.
Back images
I am unsure in which order or layout that I am gonna place them on the back or what size they are going to be.
Thursday, May 7, 2009
TotL.net Human Virus Scanner Results
Human Virus Scanner
The virus that have infected you will be show here along with their cures, if known.
Viruses you suffer from:
Pokemon
Pikachu! Use your hyper-electric-get-a-life move now!
TotL
Go read Brunching
Linux
Install the latest version of Microsoft Windows. Learn to love it.
USA
Rule, Britannia! Britannia rule the waves! [repeat]
Junkfood
Eat some real food. Something which you can identify the source of every ingredient, not the point of manufacture.
Sci-fi
Stop wearing the stick-on ears.
Goth
Grow up. Let your roots grow out. Listen to Britney.
Gaming
Life is not a game. Roll 3D6. On a 4 or more go out and do something with your life.
Religion
Read "God's Debris" by Scott Adams (yes, the Dilbert guy)
British
No need for cure. Benign virus.
Politics
Stop caring!
Discordia
Buy a suit. Invest your money. Eat hotdog buns on a friday.
Brand Names
Having a well-known name doesn't make it good.
Hippyism
Free love is passe and potentially dangerous, and patchouli smells like cat piss.
X11
I hear Mac OS 10 Aqua is nice at this time of year.
Computer Games
Stop staring at the screen and get some fresh air. You should see a doctor about the RSI in your thumbs.
Conspiracy Theory
Face it, the elected government is in control. Actually that's quite scary.
Ultima
If you find one tell us.
Environmentalism
Consume more stuff! It's easier to buy new stuff than to recycle.
Macintosh
Use a mouse with more than one button.
Viruses you might suffer from:
Free BSD (90%)
The GPL isn't that bad really. Adopt a penguin at the zoo.
Industrial (70%)
Everyone likes folk. No, really. Maybe you should listen to the Incredible String Band.
Japan (90%)
Big is good. Small is bad. Giant robots would not make a good last line of defence for Earth.
Prog Rock (80%)
Long hair looks dumb with a bald spot. Listen to CD's they don't crackle.
Cars (75%)
There just hunks of metal which go real fast. Ride a bike through London at rush hour.
The virus that have infected you will be show here along with their cures, if known.
Viruses you suffer from:
Pokemon
Pikachu! Use your hyper-electric-get-a-life move now!
TotL
Go read Brunching
Linux
Install the latest version of Microsoft Windows. Learn to love it.
USA
Rule, Britannia! Britannia rule the waves! [repeat]
Junkfood
Eat some real food. Something which you can identify the source of every ingredient, not the point of manufacture.
Sci-fi
Stop wearing the stick-on ears.
Goth
Grow up. Let your roots grow out. Listen to Britney.
Gaming
Life is not a game. Roll 3D6. On a 4 or more go out and do something with your life.
Religion
Read "God's Debris" by Scott Adams (yes, the Dilbert guy)
British
No need for cure. Benign virus.
Politics
Stop caring!
Discordia
Buy a suit. Invest your money. Eat hotdog buns on a friday.
Brand Names
Having a well-known name doesn't make it good.
Hippyism
Free love is passe and potentially dangerous, and patchouli smells like cat piss.
X11
I hear Mac OS 10 Aqua is nice at this time of year.
Computer Games
Stop staring at the screen and get some fresh air. You should see a doctor about the RSI in your thumbs.
Conspiracy Theory
Face it, the elected government is in control. Actually that's quite scary.
Ultima
If you find one tell us.
Environmentalism
Consume more stuff! It's easier to buy new stuff than to recycle.
Macintosh
Use a mouse with more than one button.
Viruses you might suffer from:
Free BSD (90%)
The GPL isn't that bad really. Adopt a penguin at the zoo.
Industrial (70%)
Everyone likes folk. No, really. Maybe you should listen to the Incredible String Band.
Japan (90%)
Big is good. Small is bad. Giant robots would not make a good last line of defence for Earth.
Prog Rock (80%)
Long hair looks dumb with a bald spot. Listen to CD's they don't crackle.
Cars (75%)
There just hunks of metal which go real fast. Ride a bike through London at rush hour.
Monday, May 4, 2009
Thursday, April 30, 2009
Movie Poster Synopsis
Tuned out
Ledger lived in a high-tech fast-pace world. No one talks to anyone and everyone stays in their houses. Ledger begins to realize how lonely this life is. He convinces a girl from an online chat to join him. The two of them decide to turn off all their electronics and go out into the real world.
Will they be surprised by what they finds? Is there anyone out there or is they the only one?
Ledger lived in a high-tech fast-pace world. No one talks to anyone and everyone stays in their houses. Ledger begins to realize how lonely this life is. He convinces a girl from an online chat to join him. The two of them decide to turn off all their electronics and go out into the real world.
Will they be surprised by what they finds? Is there anyone out there or is they the only one?
Tuesday, April 28, 2009
Sunday, April 26, 2009
Chapter 2 - Viewers Make Meaning
“I do no have to like or appreciate the dominate message of the image to be interpellated by it or understand that message.” - page 50
While you may like or dislike an image, the meanings are always clear because they are meant to try and tempt you into doing or feeling certain things. Advertisers use this heavily; they produce ads with the intention of swaying you into buying their products. While we may not like ads, they do have an impact on how we view products made by certain companies.
“Simply put, a producer may make an image or media text, but he or she is not in full control of the meanings that are subsequently made thru the work. [….] Hence, we can say meanings are not inherent in images.” – page 55
While some residual inheritance will reside in an image, the viewer provides most of the meaning, based off their own life experiences or past use of said product. These meanings can vary wildly from individual to individual but can still carry common threads among the viewers. It’s this commonality that the ad makers strive to touch in us.
“Notions if taste provide the basis for the idea of connoisseurship. […] A connoisseur is considered to be more capable than others of passing judgment on the quality of cultural objects.” –page 57
While connoisseurs have been trained to understand classical tastes, I think that what is quality should be left up to the individual. While the world has changed by leaps and bounds, what is considered classical tastes have not. It is this line that attempts to separate those who consider themselves above the common man and thinks that they can never appreciate the “finer things” in life, which is a misconception.
"There are many ways in which the value of a work of art is determined in the art market. One of the key economic and cultural factors in the valuing of art is collecting by institutions such as museums and by private collectors." - page 62
While I can see how museums can determine the price of a work of art, I think it is wrong to consider anything in a private collection. Private collections are just that, private. If these works of art are so valuable in a cultural sense, they need to be where everyone can see them. They can be privately owned, but in public museum.
"In the 1990s, [...] The system of value imposed by museums, the held, were a means of protecting, maintaining, and hiding ruling class interests in the art market." - page 66
I think this is an extreme that most people wonder about the true value of art. Museums held the people trust in that they were doing this to preserve our history, not make closed-door deals with the elitist class. It make us question the very worth of a painting. How can we know were or not the price has been askew by museum curators and wealthy people driving the prices up to serve their own interests.
"Cultures of collecting and display have also been radically transformed by the emergence of online collecting and exhibition." - page 68
This shift has made art more accessible to the everyday person so that they can enjoy it and be inspired by something that they may have not been able to see previously. With a internet connection, one can view paintings from most museums even if they live hundreds of miles away. It truly opens the art world to anyone who wants to look.
"It is important for us to think in terms of ideologies, in the plural. The concept of a singular mass ideology makes it difficult to recognize how people in economically and socially disadvantaged positions really do challenge or resist dominant ideology." - page 70
I think it is more of that there is no one true ideology that everyone follows. We are all individuals and have our own sets of moral and social values. It is what makes everyone unique.
"Who is the "You" of this image?" - page 72
I think this is a question we ask without thinking about it. We've been trained from birth to view images in this manner that we do it instinctively. But we never ask why or wonder why we look at images inn the form we do until we are forced outside of the little box we have become accustomed to.
"As we noted, viewers are not simply passive recipients of the intended message of public images and cultural products such as films and television shows. They have a variety of means by which to engage with images and make meaning from them." - page 76
While you may like or dislike an image, the meanings are always clear because they are meant to try and tempt you into doing or feeling certain things. Advertisers use this heavily; they produce ads with the intention of swaying you into buying their products. While we may not like ads, they do have an impact on how we view products made by certain companies.
“Simply put, a producer may make an image or media text, but he or she is not in full control of the meanings that are subsequently made thru the work. [….] Hence, we can say meanings are not inherent in images.” – page 55
While some residual inheritance will reside in an image, the viewer provides most of the meaning, based off their own life experiences or past use of said product. These meanings can vary wildly from individual to individual but can still carry common threads among the viewers. It’s this commonality that the ad makers strive to touch in us.
“Notions if taste provide the basis for the idea of connoisseurship. […] A connoisseur is considered to be more capable than others of passing judgment on the quality of cultural objects.” –page 57
While connoisseurs have been trained to understand classical tastes, I think that what is quality should be left up to the individual. While the world has changed by leaps and bounds, what is considered classical tastes have not. It is this line that attempts to separate those who consider themselves above the common man and thinks that they can never appreciate the “finer things” in life, which is a misconception.
"There are many ways in which the value of a work of art is determined in the art market. One of the key economic and cultural factors in the valuing of art is collecting by institutions such as museums and by private collectors." - page 62
While I can see how museums can determine the price of a work of art, I think it is wrong to consider anything in a private collection. Private collections are just that, private. If these works of art are so valuable in a cultural sense, they need to be where everyone can see them. They can be privately owned, but in public museum.
"In the 1990s, [...] The system of value imposed by museums, the held, were a means of protecting, maintaining, and hiding ruling class interests in the art market." - page 66
I think this is an extreme that most people wonder about the true value of art. Museums held the people trust in that they were doing this to preserve our history, not make closed-door deals with the elitist class. It make us question the very worth of a painting. How can we know were or not the price has been askew by museum curators and wealthy people driving the prices up to serve their own interests.
"Cultures of collecting and display have also been radically transformed by the emergence of online collecting and exhibition." - page 68
This shift has made art more accessible to the everyday person so that they can enjoy it and be inspired by something that they may have not been able to see previously. With a internet connection, one can view paintings from most museums even if they live hundreds of miles away. It truly opens the art world to anyone who wants to look.
"It is important for us to think in terms of ideologies, in the plural. The concept of a singular mass ideology makes it difficult to recognize how people in economically and socially disadvantaged positions really do challenge or resist dominant ideology." - page 70
I think it is more of that there is no one true ideology that everyone follows. We are all individuals and have our own sets of moral and social values. It is what makes everyone unique.
"Who is the "You" of this image?" - page 72
I think this is a question we ask without thinking about it. We've been trained from birth to view images in this manner that we do it instinctively. But we never ask why or wonder why we look at images inn the form we do until we are forced outside of the little box we have become accustomed to.
"As we noted, viewers are not simply passive recipients of the intended message of public images and cultural products such as films and television shows. They have a variety of means by which to engage with images and make meaning from them." - page 76
Chapter 1 - Images, Power & Politics
"We live in cultures that are increasingly permeated by visual images with a variety of purposes and intended effects." page 10
The question becomes why. Why do images take up so much of our lives, filling our landscapes and invading our homes? I think it is because we are very visually creatures. Our sight has given us advantages over the world around us and made us the dominate animal on the planet. So we inherently trust what our eyes show us. It is only when sense of aesthetics stops us and makes us wonder if the image before us is real or faked.
"The material world has meaning and can be "seen" by us only through representations. The world is not simply reflected back to us through representations that stand in for things by copying their appearance." page 12
The truth of what we see, is not always the truth of what an image is. We have learn the constructs of their meanings through the creation of images. This creation can be influenced by social climates, emotions, and sense morality. It is uncommon that an image is a true reflection of a place. Viewer don't always trust images of a place, unless the viewer has seen the place the image was taken of for themselves.
"We learn the rules and conventions of the system of representation within a given culture. Many artists have attempted to defy those conventions, to break the rules of various systems of representation, and to push the boundaries of definitions. of representation." page 14
In some ways, we must first learn the rules so we can understand how the systems work. With out this working knowledge, we would flounder and be unable to function. It's like learning to walk. We simply don't go from crawling to running. We have to learn our balance, learn how to make the muscles do as we wish, and strengthen them to hold our weight.
Once we understand these mechanics, it's only natural to want to see what's beyond them. Our humanity compels us to push all boundaries and look beyond. Without it, the world as we know it today would not exist. All concepts are forever evolving and will continue to do so until the last human dies.
"Photographs are also objects in which we invest deep emotional content. ... They are crucial to what we remember, but they can also enable us to forget those things that were not photographed." page 18
While we can have a good memory, it is not infallible. We use photographs as way to preserve days that will never happen again. Weddings, birthdays, or any other special event that we deem in need of saving. While the smell of flowers and the sounds of friends and family at a wedding will fade, these small testaments of time will forever show that day and time to anyone wanting to see.
"Thus this photograph is valuable both as an empirical document of what has been and as an expressive vehicle of what was at that moment and what would soon be." page 20
In times of political struggle, photographs have been used to show those who weren't on the front lines what is truly going one. The civil war is an example of that. Some newspapers printed such photos, causing public out cry.
Pictures of the battles fields, numerous bodies littering the ground were in stark contrast to the novelty of calling card and family portraits of the time. But this was also a time when port mortem photograph was very popular as a way to remember a child who died.
"Images are elements of contemporary advertising and consumer culture through which assumptions about beauty, desire, glamour, and social values are both constructed and lived." page 23
Stylized beauty has always been influenced by what is considered the "social norm" of the time. They have changed wildly over the last 100 years. At the turn of the century, women reveiled very litte flesh. High neck dresses with long sleeves and skirts that touched the floor were what was socially acceptable for a proper woman to wear. A short 20 years later, woman were wearing pants and skirt lines had risen to above the knee.
Each generation sets it's own sense of these social norms and each generation after it look back and thinks they were being stuffy.
"We decode images by interpreting clues pointing to intended, unintended, and even merely suggested meanings." page 26
When we learn about the world, our perceptions are shaped by those who teach us. First with our parents, who teach us what their parents have taught them and by their expirence of the world around us. In some ways, we learn by parroting our parents. Our first set of social likes and dislikes are nothing more than blueprints handed down to us from our recent ancestors. It's not until we get older do we start to construct our own set of perceptions.
It is these perceptions that we use to decode images. While they may be similar, no two people have the exact same interpretation of an image, giving us all a unique perception of an image.
"What gives an images social value? Images do not have value in and of themselves; they are awarded different kinds of values--monetary, social, and political-- in particular social context." page 34
Personally, I think took much hype has been put into the so called "historical masters" of the art world. While I believe that for their time, they were thought in different lines that was was socially acceptable at the time. But how is that any different than any artist that pushes beyond what is socially acceptable by today's standards? Will they be considered "historical masters" in the future? Or will they be lost in the annuals of time like so many other artists?
The question becomes why. Why do images take up so much of our lives, filling our landscapes and invading our homes? I think it is because we are very visually creatures. Our sight has given us advantages over the world around us and made us the dominate animal on the planet. So we inherently trust what our eyes show us. It is only when sense of aesthetics stops us and makes us wonder if the image before us is real or faked.
"The material world has meaning and can be "seen" by us only through representations. The world is not simply reflected back to us through representations that stand in for things by copying their appearance." page 12
The truth of what we see, is not always the truth of what an image is. We have learn the constructs of their meanings through the creation of images. This creation can be influenced by social climates, emotions, and sense morality. It is uncommon that an image is a true reflection of a place. Viewer don't always trust images of a place, unless the viewer has seen the place the image was taken of for themselves.
"We learn the rules and conventions of the system of representation within a given culture. Many artists have attempted to defy those conventions, to break the rules of various systems of representation, and to push the boundaries of definitions. of representation." page 14
In some ways, we must first learn the rules so we can understand how the systems work. With out this working knowledge, we would flounder and be unable to function. It's like learning to walk. We simply don't go from crawling to running. We have to learn our balance, learn how to make the muscles do as we wish, and strengthen them to hold our weight.
Once we understand these mechanics, it's only natural to want to see what's beyond them. Our humanity compels us to push all boundaries and look beyond. Without it, the world as we know it today would not exist. All concepts are forever evolving and will continue to do so until the last human dies.
"Photographs are also objects in which we invest deep emotional content. ... They are crucial to what we remember, but they can also enable us to forget those things that were not photographed." page 18
While we can have a good memory, it is not infallible. We use photographs as way to preserve days that will never happen again. Weddings, birthdays, or any other special event that we deem in need of saving. While the smell of flowers and the sounds of friends and family at a wedding will fade, these small testaments of time will forever show that day and time to anyone wanting to see.
"Thus this photograph is valuable both as an empirical document of what has been and as an expressive vehicle of what was at that moment and what would soon be." page 20
In times of political struggle, photographs have been used to show those who weren't on the front lines what is truly going one. The civil war is an example of that. Some newspapers printed such photos, causing public out cry.
Pictures of the battles fields, numerous bodies littering the ground were in stark contrast to the novelty of calling card and family portraits of the time. But this was also a time when port mortem photograph was very popular as a way to remember a child who died.
"Images are elements of contemporary advertising and consumer culture through which assumptions about beauty, desire, glamour, and social values are both constructed and lived." page 23
Stylized beauty has always been influenced by what is considered the "social norm" of the time. They have changed wildly over the last 100 years. At the turn of the century, women reveiled very litte flesh. High neck dresses with long sleeves and skirts that touched the floor were what was socially acceptable for a proper woman to wear. A short 20 years later, woman were wearing pants and skirt lines had risen to above the knee.
Each generation sets it's own sense of these social norms and each generation after it look back and thinks they were being stuffy.
"We decode images by interpreting clues pointing to intended, unintended, and even merely suggested meanings." page 26
When we learn about the world, our perceptions are shaped by those who teach us. First with our parents, who teach us what their parents have taught them and by their expirence of the world around us. In some ways, we learn by parroting our parents. Our first set of social likes and dislikes are nothing more than blueprints handed down to us from our recent ancestors. It's not until we get older do we start to construct our own set of perceptions.
It is these perceptions that we use to decode images. While they may be similar, no two people have the exact same interpretation of an image, giving us all a unique perception of an image.
"What gives an images social value? Images do not have value in and of themselves; they are awarded different kinds of values--monetary, social, and political-- in particular social context." page 34
Personally, I think took much hype has been put into the so called "historical masters" of the art world. While I believe that for their time, they were thought in different lines that was was socially acceptable at the time. But how is that any different than any artist that pushes beyond what is socially acceptable by today's standards? Will they be considered "historical masters" in the future? Or will they be lost in the annuals of time like so many other artists?
Tuesday, April 21, 2009
PostCards
These are my postcards.
#1. I didn't add any text other than what is on the front.
#2. This is my benign one. What's more benign that a patch of grass? On the back, it says "All things considered, there is nothing more sublime than a sunny patch of grass"
#3. This one was a hope and wish for peace. The back of this one says "Dare to Coexist"
#4. Just cause I'm a cat lover. The Back of this one says "Cats leave paw prints on your heart".
#5. This one was a Zen theme. I didn't add any text to the back but the Kanji on the front are as follows: (Far left: Laughter, Middle: Life, Right: Love)
This is what the back of my cards look like.
#1. I didn't add any text other than what is on the front.
#2. This is my benign one. What's more benign that a patch of grass? On the back, it says "All things considered, there is nothing more sublime than a sunny patch of grass"
#3. This one was a hope and wish for peace. The back of this one says "Dare to Coexist"
#4. Just cause I'm a cat lover. The Back of this one says "Cats leave paw prints on your heart".
#5. This one was a Zen theme. I didn't add any text to the back but the Kanji on the front are as follows: (Far left: Laughter, Middle: Life, Right: Love)
This is what the back of my cards look like.
Wednesday, April 15, 2009
Week 1 Post - In 30 minutes time
Time: 1 am April 15th
Place: One of my partner's bedrooms.
Reason: Insomnia
I sit here, partly alone in the dimly lit room. Darren softly snores in the bed behind me, making me smile. The sound is a comfort to me, in spite of my inability to sleep. The soft hum of the dryer can be heard thru his wall, connected to the garage on the other side.
Sitting here at his desk,a pale stain solid wood desk, simple but sturdy. The grain of the wood soft beneath my arms. Nicks and craved marks along the front edge, show the destructive nature of teenage boys, for Darren has had this desk since his early teen years. Which makes me think of all that I have lost from my childhood, never to berecovered.
Small mountains of clutter from the day graces it's top. A 12 pack of D batteries sits on the right, partly used from the Blackthorne Revel makes me sigh and wish that I didn't have to cancel it this year. At the end of the package, a nearly white marble ball on it's black stand, sits at the base of his stainless steel desk lamp.
The X-rays of my ankle on the left, making me thankful I didn't break anything. My scanner and external drive sitting to the back left edge, makes me think of the computer built and now occupying the space they once sat in Chris's room. Assorted bits and screws, remnants of Chris's computer that was shipped here from Texas, only to be found in sad condition and nearly useless.
Looking up, the solo window in the room is dark, blinds drawn against the night and our neighbor's bedrooms which are in direct line of sight. Except for the bamboo which we put in last summer. It took 2 long weeks, a rented tiller, my dad's trailer, a small mountain of dirt and 2 bales of peat moss. But this summer we should have a nice barrier between us and them.
Suddenly the dryer buzzer goes off, signaling time to change loads. A moment later, the furnace turns on with a soft whirl of air and then warmth at my feet. Reminding me of the chill morning we had due to the ignitor on the furnace going out the night before. It was nearly 60 degrees in the house and made for a painfully morning for me.
I pick up my glass of milk and take a drink, looking up at the poster on the wall next to the window. It reads " Perfection - Success is the art of doing ordinary things in extraordinary ways" with a picture of an elaborate garden maze view. A few inches from that sits Darren's bookshelf, as pale as his desk but with a smoother surface, recently moved from Chris's room to give him more closet space.
Upon the shelf, a collection of old text books from past classes. Mostly math and engineering book, a single slim book on Philosophy of Religion stands next to my copy of the Watchmen graphic novel. Seemingly out of place until you look at the shelf above it and find the collection of PS2 and 3 video games as well as computer games. A box of old 5" floppy disks sit, a project from his mom. They contain the writings from her father, of time spent in Africa and beyond.
Atop the shelf, 3 cans of compressed air hide a stack of rainbow colored CD jewel cases, a large orange dragon, a small purple dragon and a black bobble head cat are tucked toward the back.
In the floor space between the desk and the shelf, a filing cabinet a few inches shorter than the desk stand. On top of it, a single oscillating fan sits quietly, unmoving. Behind the fan, an older flat panel waits for when Darren is in need of it.
With all the memories that float around this room, it is hard to put them all into words. To do such would require a great many pages and a great deal more time than this would allow. But sitting here quiet in the dark, they wash over me in small waves. Making me ponder, think and smile.
Place: One of my partner's bedrooms.
Reason: Insomnia
I sit here, partly alone in the dimly lit room. Darren softly snores in the bed behind me, making me smile. The sound is a comfort to me, in spite of my inability to sleep. The soft hum of the dryer can be heard thru his wall, connected to the garage on the other side.
Sitting here at his desk,a pale stain solid wood desk, simple but sturdy. The grain of the wood soft beneath my arms. Nicks and craved marks along the front edge, show the destructive nature of teenage boys, for Darren has had this desk since his early teen years. Which makes me think of all that I have lost from my childhood, never to berecovered.
Small mountains of clutter from the day graces it's top. A 12 pack of D batteries sits on the right, partly used from the Blackthorne Revel makes me sigh and wish that I didn't have to cancel it this year. At the end of the package, a nearly white marble ball on it's black stand, sits at the base of his stainless steel desk lamp.
The X-rays of my ankle on the left, making me thankful I didn't break anything. My scanner and external drive sitting to the back left edge, makes me think of the computer built and now occupying the space they once sat in Chris's room. Assorted bits and screws, remnants of Chris's computer that was shipped here from Texas, only to be found in sad condition and nearly useless.
Looking up, the solo window in the room is dark, blinds drawn against the night and our neighbor's bedrooms which are in direct line of sight. Except for the bamboo which we put in last summer. It took 2 long weeks, a rented tiller, my dad's trailer, a small mountain of dirt and 2 bales of peat moss. But this summer we should have a nice barrier between us and them.
Suddenly the dryer buzzer goes off, signaling time to change loads. A moment later, the furnace turns on with a soft whirl of air and then warmth at my feet. Reminding me of the chill morning we had due to the ignitor on the furnace going out the night before. It was nearly 60 degrees in the house and made for a painfully morning for me.
I pick up my glass of milk and take a drink, looking up at the poster on the wall next to the window. It reads " Perfection - Success is the art of doing ordinary things in extraordinary ways" with a picture of an elaborate garden maze view. A few inches from that sits Darren's bookshelf, as pale as his desk but with a smoother surface, recently moved from Chris's room to give him more closet space.
Upon the shelf, a collection of old text books from past classes. Mostly math and engineering book, a single slim book on Philosophy of Religion stands next to my copy of the Watchmen graphic novel. Seemingly out of place until you look at the shelf above it and find the collection of PS2 and 3 video games as well as computer games. A box of old 5" floppy disks sit, a project from his mom. They contain the writings from her father, of time spent in Africa and beyond.
Atop the shelf, 3 cans of compressed air hide a stack of rainbow colored CD jewel cases, a large orange dragon, a small purple dragon and a black bobble head cat are tucked toward the back.
In the floor space between the desk and the shelf, a filing cabinet a few inches shorter than the desk stand. On top of it, a single oscillating fan sits quietly, unmoving. Behind the fan, an older flat panel waits for when Darren is in need of it.
With all the memories that float around this room, it is hard to put them all into words. To do such would require a great many pages and a great deal more time than this would allow. But sitting here quiet in the dark, they wash over me in small waves. Making me ponder, think and smile.
Jim Lommasson - Exit Wounds: Combat Trauma and Trials of Homecoming
This is a show I thought people might be interested in seeing.
Mana
--------------------------------------------------------------------------------------
Jim Lommasson - Exit Wounds: Combat Trauma and Trials of Homecoming
April 2-May 2, 2009
Reception and Panel Discussion - Thursday, April 16, 2009 3:00-4:30pm, Reception 5:00pm Helzer Gallery (building 3)
Portland Community College - Rock Creek Campus Helzer Gallery (building 3) 17705 NW Springville Rd. Portland, OR 97229
Photos of Iraq and Afghanistan Veterans by Jim Lommasson. And over fifteen hundred photos by the soldiers taken while in country, including interviews and writing by the soldiers. Exit Wounds: The Myth of Homecoming
My Dad was an infantryman in The Battle of the Bulge, the bloodiest battle that U.S. forces experienced in World War II. As I was growing up, in the ‘50s and ‘60s, the stories he told were generic, and agreed with the choppy newsreels and movies I was raised on. His stories seemed to support the nobility of serving your country as a soldier and that it was right to fight in a war.
When I approached eighteen in 1968, and the Viet Nam War was raging, my dad was dead set against sending me to war. He said, “The one thing that I learned from volunteering into the Army was, never volunteer for anything.” I got enough subtle messages over the years that maybe war wasn't all it was cracked up to be.
Today, more than sixty years later, my father only now has started sharing more intimate, painful wartime experiences, as we go for walks around our North Portland neighborhood where we lived most of our lives. The walks are long even though the distances are short. His walker rattles and his feet barely clear the cracks in the sidewalk as we amble along. His memory ebbs and flows, as past blurs with present, and the new stories reveal a darker side of war.
It's clear to me now the man who gave me everything he was capable of, did his best to spare me and everyone else the reality of war. After the war ended, his generation was told to "man-up," buy a house and pretend that nothing happened. Despite all he experienced, and the pain he was withholding, he was, and still is, a loving, generous father. The war has always been with him privately, but now he is beginning to talk about what really happened at the Battle of the Bulge as we walk, as it fades into his fog of war.
My father’s revelations gave me an idea about doing a soldiers' oral history of the current war in Iraq and Afghanistan. I feel that soldiers need to tell their stories and we need to hear them. The soldiers that I have been interviewing and photographing have been generous with their stories and intimate feelings. They have taught me what it is to descend into hell and then try to find their way home. The details of my father’s experience may ultimately be lost with him, but as I chronicle the lives of today’s young soldiers, their story is his story…I hope they can find their way out of the fog.
Sixty years is way too long to keep a secret.
Here is a link to more information about Exit Wounds:
exitwoundshomecoming.blogspot.com/
jim@lommassonpictures.com
www.lommassonpictures.com
Mana
--------------------------------------------------------------------------------------
Jim Lommasson - Exit Wounds: Combat Trauma and Trials of Homecoming
April 2-May 2, 2009
Reception and Panel Discussion - Thursday, April 16, 2009 3:00-4:30pm, Reception 5:00pm Helzer Gallery (building 3)
Portland Community College - Rock Creek Campus Helzer Gallery (building 3) 17705 NW Springville Rd. Portland, OR 97229
Photos of Iraq and Afghanistan Veterans by Jim Lommasson. And over fifteen hundred photos by the soldiers taken while in country, including interviews and writing by the soldiers. Exit Wounds: The Myth of Homecoming
My Dad was an infantryman in The Battle of the Bulge, the bloodiest battle that U.S. forces experienced in World War II. As I was growing up, in the ‘50s and ‘60s, the stories he told were generic, and agreed with the choppy newsreels and movies I was raised on. His stories seemed to support the nobility of serving your country as a soldier and that it was right to fight in a war.
When I approached eighteen in 1968, and the Viet Nam War was raging, my dad was dead set against sending me to war. He said, “The one thing that I learned from volunteering into the Army was, never volunteer for anything.” I got enough subtle messages over the years that maybe war wasn't all it was cracked up to be.
Today, more than sixty years later, my father only now has started sharing more intimate, painful wartime experiences, as we go for walks around our North Portland neighborhood where we lived most of our lives. The walks are long even though the distances are short. His walker rattles and his feet barely clear the cracks in the sidewalk as we amble along. His memory ebbs and flows, as past blurs with present, and the new stories reveal a darker side of war.
It's clear to me now the man who gave me everything he was capable of, did his best to spare me and everyone else the reality of war. After the war ended, his generation was told to "man-up," buy a house and pretend that nothing happened. Despite all he experienced, and the pain he was withholding, he was, and still is, a loving, generous father. The war has always been with him privately, but now he is beginning to talk about what really happened at the Battle of the Bulge as we walk, as it fades into his fog of war.
My father’s revelations gave me an idea about doing a soldiers' oral history of the current war in Iraq and Afghanistan. I feel that soldiers need to tell their stories and we need to hear them. The soldiers that I have been interviewing and photographing have been generous with their stories and intimate feelings. They have taught me what it is to descend into hell and then try to find their way home. The details of my father’s experience may ultimately be lost with him, but as I chronicle the lives of today’s young soldiers, their story is his story…I hope they can find their way out of the fog.
Sixty years is way too long to keep a secret.
Here is a link to more information about Exit Wounds:
exitwoundshomecoming.blogspot.com/
jim@lommassonpictures.com
www.lommassonpictures.com
Thursday, April 2, 2009
W.J.T. Mitchell PNCA Talk
I went to W.J.T. Mitchell's PNCA talk on "The future of the Image".
It was an interesting talk and brought up things I had briefly thought about in the past but not to this depth.
One of his first comments really seem to drive home the point on how much the digital age has taken over. "Images have no future, they are all code." He displayed this with 2 images, one was a cave painting and the other was a scene from Jurassic Park.
But how did it come to this point?
The first images were wall paintings of animal hunts. These held a magic and mysticism, primitive humans believed by making these paintings would help insure good hunts, by which increasing their chances of survival.
Then people began looking to animals for guidance or thinking themselves the same as the animal they believed themselves to be. And totems came into being. The first tactile image.
From this point forward, images took on their roles in our life. They lead to the creation of written languages, sculpture, mosaics, painted portraits and landscapes. Everything connected back to a simple cave painting done for survival.
Then came the first camera.
While the first camera weren't anything we would recognize today, they changed images forever. They gave us the ability to have a hand-held image of a person, without the expense of a painting.
As cameras evolved, images became readily available and were used as business cards or as proof of being somewhere in the world or that an animal/person did exist.
Then came the digital age.
At it's beginnings, I doubt that about would have thought that the trust in images would fail. But it did.
The digital brought back to life animals no humans have every seen living. Dinosaurs and dragons, fairies and elves, these creatures fill our movie screens and cover our walls in pictures.
It is at this point is when images diverged into 3 loosely based groups, Naked, Ostensive, and Metaphoric.
Naked images invoke an Ethical/Political response. These would be images from the Holocaust or "ethnic" cleansing in Africa. The tend to invoke an emotional response make us want to do or not to do something, make us horrified that such thing actually happened, and to shed light onto that which we tend to ignore.
Ostensive images are more of images that look back at us and try to engage us. Examples of these are the "Uncle Sam" posters or Byzantine portraits. They look at you, engaging you, trying to get you to interact with them.
Last is the Metaphoric images. This is a place for images that don't if into the first 2 categories. Yet by it's very nature could be either of the first 2 categories and could be considered a "catch all".
Metaphoric images are more installation art and montages, works that lead us down strange paths or into dark recesses, show us the whimsy of life or absurdness.
One of the greatest metaphoric images in history, an Icon of Hope and Change, isn't what is seems.
These 2 images are on opposite end of the political spectrum. Yet it is easy to see the similarities. The question becomes, Which one is an Icon of Hope and Change?
Depending on your political views, either could be.
While some would argue the similarities between them, or not, there is one last image, from the NY Post, that can draw us back.
The cartoonist "claimed" to be unaware of this nation's past. Unaware of what the slang term "monkey" was used for. Unaware of what the impact of this image could have.
As Mitchell remarked, "he must have lived on a planet with no animals"
It was an interesting talk and brought up things I had briefly thought about in the past but not to this depth.
One of his first comments really seem to drive home the point on how much the digital age has taken over. "Images have no future, they are all code." He displayed this with 2 images, one was a cave painting and the other was a scene from Jurassic Park.
But how did it come to this point?
The Odyssey of the Image
The Path of Animals
The first images were wall paintings of animal hunts. These held a magic and mysticism, primitive humans believed by making these paintings would help insure good hunts, by which increasing their chances of survival.
Then people began looking to animals for guidance or thinking themselves the same as the animal they believed themselves to be. And totems came into being. The first tactile image.
From this point forward, images took on their roles in our life. They lead to the creation of written languages, sculpture, mosaics, painted portraits and landscapes. Everything connected back to a simple cave painting done for survival.
Then came the first camera.
While the first camera weren't anything we would recognize today, they changed images forever. They gave us the ability to have a hand-held image of a person, without the expense of a painting.
As cameras evolved, images became readily available and were used as business cards or as proof of being somewhere in the world or that an animal/person did exist.
Then came the digital age.
At it's beginnings, I doubt that about would have thought that the trust in images would fail. But it did.
The digital brought back to life animals no humans have every seen living. Dinosaurs and dragons, fairies and elves, these creatures fill our movie screens and cover our walls in pictures.
It is at this point is when images diverged into 3 loosely based groups, Naked, Ostensive, and Metaphoric.
Naked images invoke an Ethical/Political response. These would be images from the Holocaust or "ethnic" cleansing in Africa. The tend to invoke an emotional response make us want to do or not to do something, make us horrified that such thing actually happened, and to shed light onto that which we tend to ignore.
Ostensive images are more of images that look back at us and try to engage us. Examples of these are the "Uncle Sam" posters or Byzantine portraits. They look at you, engaging you, trying to get you to interact with them.
Last is the Metaphoric images. This is a place for images that don't if into the first 2 categories. Yet by it's very nature could be either of the first 2 categories and could be considered a "catch all".
Metaphoric images are more installation art and montages, works that lead us down strange paths or into dark recesses, show us the whimsy of life or absurdness.
One of the greatest metaphoric images in history, an Icon of Hope and Change, isn't what is seems.
These 2 images are on opposite end of the political spectrum. Yet it is easy to see the similarities. The question becomes, Which one is an Icon of Hope and Change?
Depending on your political views, either could be.
While some would argue the similarities between them, or not, there is one last image, from the NY Post, that can draw us back.
The cartoonist "claimed" to be unaware of this nation's past. Unaware of what the slang term "monkey" was used for. Unaware of what the impact of this image could have.
As Mitchell remarked, "he must have lived on a planet with no animals"
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