ANALOG - Advanced Concepts In Photography
Reflex Camera - medium objects, return to analogue form.
The idea of material and what we can do with it. They are really quickly abandoned. Photography has developed as an art form. The return of a lot of abandoned emotions.
analogue – a physical object or quantity used to represent or measure another quantity. as modifier to represent something else such as analogue watch; analogue recording. something analogous to something else.
Anon, portrait of Edgar Allan Poe, ca. 1850.
Tacita Dean, The Russian Ending – Beautiful Sheffield, 2002.
Tacita Dean, The Russian Ending – The Story of Minke the Whale, 2002.
Tacita Dean, The Russian Ending – Ship of Death, 2002.
Tacita Dean, The Russian Ending – The Sinking of the SS Plympton, 2002.
Tacita Dean, Study for Majesty, 2006 (ancient tree, organic form, the aging)
Tacita Dean, Study for Crowhurst, 2006.
Tacita Dean, Boots, 2003. Stills
Her concern is more about the image and it quality. One explanation of analogue, Dean says, is ‘a representation of an object that resembles the original; not a transcription or translation but an equivalent in a parallel form’. Everything we can quantify physically is analogue: length, width, voltage, and pressure. Telephones are analogue; the hands of watches that turn with the rotation of the earth are analogue; writing is analogue; drawing is analogue. ... Thinking too becomes analogue when it is materialised into a concrete form; when it is transmuted into lines on paper or marks on a board. It is as if my frame of mind is analogue when I draw; my unconscious reverie made manifest as an impression on a surface.
Can digital entirely change it?
Moyra Davey, LPs/Tree, 2010
Moyra Davey, Dictionaries, 1996
Moyra Davey, LPs/Plastic, 2010 (Passing of time, stuffs the no longer use)
Moyra Davey, Laptop, 2010
Moyra Davey, Rester Calme, 2010
Moyra Davey, The Coffee Shop, the Library, 2011
Moyra Davey, Three Cups, 2009
The aging, immortality, the image is all about what is living around her. She try to communication, fill the space between two images.
Alighiero Boetti, Mail art, 1972 (lots of different colour stamps)
Alighiero Boetti, Twins, 1969.
Zoe Leonard, Meat’n’More, from the series Analogue, 1998-200
Zoe Leonard, Graham Electronics, 2006, from the series Analogue
Zoe Leonard, American flag, sweater, 2001, from the series Analogue, 1998-2007.
Eugène Atget, Boulevard de Strasbourg, 1912.
Eugène Atget, Au Tambour, 1908
Laura Marks, The Skin of the Film (2000).
Marks says that the title is ‘a metaphor to emphasize the way film signifies through its materiality … It also suggests the way vision itself can be tactile, as though one were touching a film with one’s eyes: I term this haptic visuality’
‘tactile visuality’ – feminist and inter-cultural film
‘optical visuality’ – mainstream, commercial cinema
‘Haptic visuality’ – the way an image can evoke tactile memories.
Synaesthesia – by stimulating one sense, we produce a sensation in another.
Daisuke Yokota, Nocturnes, 2012.
Daisuke Yokota, Unseen, Amsterdam 2013.
Daisuke Yokota, Cloud, 2013
Daisuke Yokota, Matter/Burn Out 2016
Sen O’Hagan says that one could also link Yokota conceptually to the iconoclastic Mono-ha movement of the late 60s and early 70s, where sculptural raw materials included sand, glass, soil, cotton and even paraffin, as well as traditional stone and metals.
Sean O’Hagan describes Yokota’s technique: ‘His process is meticulous to the point of obsessive. He shoots on a compact digital camera, prints and rephotographs the results on medium-format film, then prints them again several times using heat and light to mark or distort the images.’
The experiment and influences - “there’s a lot of experimentation with delay, reverb and echo, which is playing with the way that you perceive time. Of course there’s no time in a photograph, but I thought about how to apply this kind of effect, or filter, to photography. I was definitely influenced by the idea of “ambience.” David Lynch is probably the same for me, in the way that he works with time and perception.”
On the time of the photograph - “There’s no element of duration to your experience of a photograph; it’s closer to an object. I felt that this was an extremely weak point of photography. So, I’m aware that photography can’t function in the same way as films or music, but I wonder whether it isn’t possible to create a way for photographs to carry time within them.”
