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So... my presentation is tomorrow morning and I am anxious to get feedback mainly. I know I have some solid ideas, but once I started to research into them with more detail I found there is a lot of ground to cover. This is not necessarily a bad thing, in fact it could prove to be useful as the more research I have the better and easier my dissertation will be to write and follow. Personally going over this presentation again I feel like time leaning more into questioning the ethics of photography surrounding ideas of the mainstream media influencing misjudgment, misinformation, racism and/or many other unethical issue that occur socially in contempory media. 

Feedback:

Most people from the presentation responded well/ preferred the last section of my topics ideas. With ideas surrounding the affects off media/publicity feedback was to maybe focus on a specific minorities/issue I.e vitiligo and analyse the use and effects. Present dissertation backwards - the ideas is my presentation of presented from start to finish could incorporate some of all my ideas as they could weave into the analyse. Ethics can be used to analyse the use of specific models in specific case studies. Find specific case studies/ occurrences. How it used? Who is affected? How it affects the sitter? Who is in control? Is it ethical? Can/ will these views change?

Idea one: 

Discuss the social impact photography has had on self image. Compare to artists that use the social media contacts as an aesthetic for their work. Richard something uses five photographs from each person he is photographing and re-photographs the subject in the best frame he finds for each subject. He finds this easy as something that is hard to do as a portrait photographer is capture photograph of a person how they would want it to look. So by re-photographing an image already taken he is reproducing the aesthetic. This shows the impact of the way photographs are being taken in this generation not only on the uses of social media but also for artists such as photographers and even editors for example magazines. 

•The impact of representation in food photography. advertisement - Survey? 

Idea two : 

The idea of ethics;  social media and the way people document video suffering abuse murder. People have become numb to suffering. How photojournalist have influence or allowed the public to believe it is justified to photograph or record such devastating moment. Idea of how easy it is for the public to influence or be part of the news. The public has taken over the job of the photojournalist. News outlets depend on The snapshot aesthetic & this has become overly popular almost appraised as people want to be able to use technology to their advantage as it adapts. Justifications of Self-satisfaction with the act is an idea that people feel like they’re doing something even though they are not physically helping. and even then it is not doing anything apart from videoing capturing the event they could have avoiding recording in the first place. Kants idea of deontological ethic can be applied to this area to debate the ethics of allowing your self not to do the morally ‘right’ physical acts. Ethnicity being a trend, homelessness, War, murder, abuse, famine and natural diseases are all examples of subjects photographed that can be argued unethical but have become apart of (society) social norms. 

Incoming Richard Mosee

Engaging a viewer 

Personal intrest 

Stereotype photography 

Current issue: coronavirus/ media outlets

Further ideas: 

•Effects of social media media in general on mental health links to photography in truth. How people see them selves- camera distortion - self image - selfies. •Photojournalist’s / paparazzi photograph people’s lives without authority no laws governing media use publications. 

Photographer/ paparazzi aggravating celebrities to get a reaction to photograph. The fact that the photographer has control over the production of an image (post production) and the narrative behind the subject can be dangerous/ not always what the subject wants - unethical. 

•Camera capabilities in this generation. 

Emmanuel Kant - A photographer to help argue against Ruff’s interpretation of portrait photography is  Emmanuel Kant. His theory of deontological ethics can be applied to question whether or not under a series of rules, the morality of the action itself is right or wrong . However a consequential theory of ethics can be applied as consequentialism is a normative ethical theory. The consequences of an action are all that matters when taking an ethical decision to act. 

Morality is primarily focused on the interests of other people and the idea of deontological constraints.

USEFUL LINKS FOR TOPIC IDEAS. 

https://www.today.com/style/models-skin-conditions-answer-hurtful-questions-powerful-portrait-series-t166568    - insta artist 

https://www.bustle.com/articles/138249-11-people-whove-embraced-the-beauty-of-skin-conditions-that-make-humans-unique-photos    -    black milenials 

https://www.forbes.com/sites/christinecarter/2018/11/23/meet-the-black-millennial-bringing-diversity-to-stock-photography/#290fa174500b    -  11 models embraced the beauty of their skin 

https://sevenpillarsinstitute.org/ethics-101/applying-utilitarianism-are-insider-trading-and-the-bailout-of-gm-ethical/  - Ethics/ consqeuncialism 

http://assets.press.princeton.edu/chapters/s10814.pdf - ethics |  Sarah Greenough, Picturing a Collection, Presenting a History. 

https://books.google.co.uk/books?id=Pus9DwAAQBAJ&pg=PA46&lpg=PA46&dq=photographer+that+uses+five+portraits+of+his+subjects+and+photographers+one&source=bl&ots=TlBoXq2Ci-&sig=ACfU3U0gK7WmhOTg9_eJgTNXTD1EurP95g&hl=en&sa=X&ved=2ahUKEwiTspv1lf3nAhXtQUEAHT8TDgcQ6AEwEHoECA4QAQ#v=onepage&q=photographer%20that%20uses%20five%20portraits%20of%20his%20subjects%20and%20photographers%20one&f=false - Photography Reinvented: The Collection of Robert E. Meyerhoff and Rheda Becker. Contributions by Philip Brookman Andrea Nelson Leslie Ureña Diane Waggoner

https://www.invisionapp.com/inside-design/diverse-stock-photos/  -  statistic about companies here to help minority groups. Representation Matters. CreateHER Stock  Photos 

https://www.campaignlive.co.uk/article/why-does-ad-industry-keep-making-racist-mistakes/1590498

Summary: 

In both cases for my dissertation topic ideas I would be focusing on the connection between photography and the being; the affects photography can have on a person and they’re opinion to a specific subject. 

Wednesday 19th February 2020.

Part Two:

Weronika Gesicka, I remember my birth, installation view at the Ujazdowski, 2018.Expansion into three dimensiuallity, a sense of emboidyment and engaging with the figures.

Digital landscapes: digital video installation – Kelly Richardson, The Erudition, 2011 (video installation) http://vimeo.com/23748913

Ideas of space pollution engages strongly with the senses, noisies and lights depicting the realty of space - Kelly Richardson, Mariner 9, 2013.

Sculpture, links to religious ideas and further because of the subject. Shannon Ebner, Distressed Holy, 2002-10.

Shannon Ebner, The Electric Comma, 2013.

Walead Beshty, FedEx Sculptures, 2005 to  present. Tired to change the history of ar, influence Duchamp’s earlier work. Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23.

Walead Beshty, EMBASSY, Hammer Museum Project, 2006. Passed work/ film through airport scanners which are not recommended for fil. This creates a documentation of transportation in the work once again.

Lorenzo Vitturi, Yellow Chalk nos. 1 and 2, from Dalston Anatomy, 2013  Photobook. Dalston Anatomy is a book project, a multi-layered installation, and a visual celebration of the Ridley Road Market in East London. Vitturi recognised the market as a unique place where ‘different cultures merge together in a celebration of life, diversity and unstoppable energy’ and was inspired to capture this place before it transformed beyond recognition.

‘The objects were left to rot, manipulated with pigment or deconstructed and then rearranged in compositions and photographed against discarded market materials before and after their collapse. The ephemeral nature of these sculptures mirrors the impermanent nature of the market itself, while the reconstruction and placement of these totem-objects in the exhibition space reflects on constant cycles of production, destruction and recreation.’

Digital multiscreen installation: Richard Mosse

‘the camera carries a certain aesthetic violence, dehumanizing the subject, portraying people in zombie form as monstrous, stripping the individual from the body and portraying a human as mere biological trace’.

Richard Mosse cited at: http://www.mackbooks.co.uk/books/1162-Incoming.html

Richard Mosse, Incoming, Barbican Centre Curve Gallery, London, 2017. Multi-screen installation.

Wednesday 19th  February 2020

Neil.

PHOTOGRAPHY IN THE EXPANDED FIELD: Part One

Lucy Soutter - Lucy Soutter, Why Art Photography? London and NY: Routledge, 2013, p.113. Rosalind Krauss - Rosalind Krauss, Perpetual Inventory, Cambridge, MA: MIT, 2010, pp.xiii-xiv.

Victor Burgin - “I trained as a painter and I’m very aware that a lot of what happens in painting comes out of a struggle with the medium. It will never quite do what you want or expect. Later, using photography was a struggle. And I always found the dialectic between what you think you want to do and what the medium will let you do is an aspect that keeps things alive.” Victor Burgin in conversation with David Campany, 17 May 2013, Frieze website, at: https://frieze.com/article/other-criteria (accessed 22 February 2018).

Narrative constructive., cinematic, Greggory Crewdson- Philip- lorca dicorcia. From a static to a moving image. Philip-Lorca Dicorcia, Eddie Anderson, 21 years old; Houston, Texas; $20, from the series Hustlers, 1990..

George Baker - ‘Everywhere one looks today in the world of contemporary art, the photographic object seems to be an object in crisis, or at least in severe transformation’.

George Baker, ‘Photography’s Expanded Field’, October, no. 114, Fall 2005, p.121.

Nancy Davenport, Weekend Campus, 2004. DVD. – related influence of Andy Warhol, 5 deaths, 1963. Again, with reference to cinematic influences by Jean-Luc Godard, Weekend, 1967.

Critical relation to Davenports work;

Ingrid Hölzl

‘With digital image processing, post-production has become the principal site of photographic image production, where recorded and calculated images are merged into what I will call augmented documents. The augmented document emphasizes not only the hybrid temporality of contemporary society but also the hybrid temporality of its representation, displaying a possible present where different space–times coexist’. Ingrid Hölzl ‘Blast-off Photography’, History of Photography, Feb 2011.

Ideas of digitalization with relation to the technological shift. Weve come to inhabit a different relationship]o with time. With made a change with technology and our work needs to reflect that. Using technology to get an authentic representation of our world now.

Work reflects the interests she has with cinema, a shift into a multimedia documentation which she justifies. You could question that you can use traditional conforms of documentary photography  to depict the same thing. Do we need to move to multi-mediums, does photography need to be used in a more conventional way?

-       George Baker : Photography, Baker claims, has been ‘abandoned – outmoded technologically and displaced aesthetically’. Those who have best weathered that crisis have combined photography with other media

Jeff Wall embraces a tabloue and heavily light-based work style.

Andreas Gursky, Montparnasse, 1993.- worked with digital post- production sowing photographs together to make a whole large-scale image.

-       George Baker : Others, Baker says, can’t resist ‘the impulse to deal the concerns of other mediums into their practice, less using photography to recode other practices than allowing the photograph to be recoded in turn’.

Philip-Lorca diCorcia, New York, 1993. Cinema technology technique changes the effect.

-       Rosalind Krauss - The idea of the ’expanded field’ of art (Krauss) Baker suggests that photography too may in fact have entered into ‘an expanded field of operation’. Baker, ‘Photography’s Expanded Field’. p.124. works with ideas of deontology and ontology and more conceptual ideas of his work.

Idea of static images and idea of narrative. Two different ways Krauss believes he’s expanded the field of Sanders work. Shift in photograph from static to narrative;

Example: John Stezaker, Third Person, 1988/9.  Used archive film stills to recreate his artwork. Gillian Wearing, 60 Minutes Silence, 1996. Video. Wearing photographed a 60- minutes still video to create this image.

David Claerbout, Vietnam 1967, near Duc Pho (reconstruction after Hiromishi Mine), 2001. Single channel video projection - Mixture of still and moving image using a historical  image documenting friendly fire, image captures the moment of explosion, this is from a moving image of the Vietnam war, but there is a link to Bakers idea of the  hybrid of still and moving image. This use is intentional and purposeful.

Sharon Lockhart, Goshogaoka, 1997. (details)- She works with a choreographer to intensify the movement of sport. Highly cinematic, expanded idea of traditional photographing trying to push the boundaries and challenge the traditional mediums and techniques of photographing in the cinematic photography style.

Baker argues photography has become de-centred and there is no way back to a centred photography.

Photography’s expansion into space:

Wednesday 12th February 2020

This lecture helped to enlighten me on the key details within my dissertation that I need to consider. Most important thing I took from this was DRAFTING and redrafting from the beginning of research, notes could be developed into parts of the dissertation. Ideas for a topic needs to be consider asap and the concept should be specific to a time frame and argument to be able to write a fluent argument or discussion. With three weeks to go before my dissertation proposal presentation, I have taken from this lecture that I have to take on this project with excitement or hope of discovering something about a topic I find enjoyable or purposeful. Enjoythe final result: the completed dissertation. Give time for writing and visit

What is a dissertation?

Formally: 8000- 10,000-word written project on a freely formulated topic in/on photography

If this seems daunting, stop and think about it:

Dissertations need to be structured into chapters

You have to include an introduction and a conclusion

You could have, e.g., anywhere between 2–5 chapters

So, what does that amount to, really?

Intro (approx.1000 words), conclusion (approx. 1000 words) = 8000 left for the (3)chapters = 8000/(3) = 2666.6666666666667 words per chapter. (2700 rounded up)

•       YOU get an opportunity to say what you have wanted to say since you joined Westminster

•       YOU get an opportunity to develop an idea you have perhaps found during your studies

•       YOU get an opportunity to formulate a topic that inspires YOU

•       YOU get to enjoy yourself: YOUR interests are what matter here

And YOU do all this with the support of a supervisor:

•       YOU will maintain contact with your supervisor: you will meet him/her for tutorials approximately every two weeks in the first semester of the next academic year

How to choose a topic?

– Dissertations must be focused.

– Although it is the longest piece of writing you will do during your BA, it is surprising how little you can take on

– Good dissertations tend to tackle, e.g.,

                       a very limited number of photographic projects as case studies – even one suffices, if there’s enough to say about it

                       a very limited set of key concepts (choose one theoretical approach)

                       a narrow timeframe when dealing with history

The dissertation project starts: NOW

It ends: late January/early February 2021

After the reading week, you will give a seminar presentation on your proposed dissertation project. The seminars take place weekly Between 4th March and 1st April 2020.

As part of ACP module, you will then submit a dissertation proposal (length as prescribed in the module handbook), by the submission deadline (29th April 2020).

USE THIS MODULE TO RESEARCH: Read, look/view, think

The V&A Photography Collections and

National Art Library

http://www.vam.ac.uk/page/n/national-art-library/

http://www.vam.ac.uk/page/p/photography/?imageid=im00236

The British Library

http://www.bl.uk/

Tate Archives and Reading Room

http://www.tate.org.uk/research/archive

The Feminist Library

http://feministlibrary.co.uk/

The National Archives

http://www.nationalarchives.gov.uk/

Black Cultural Archives

www.bcaheritage.org.uk

•       Take notes of what you read, see, hear – even read by taking notes

•       Start sketching possible passages that could perhaps become  parts of your dissertation

•       Start a ledger of where the sources come from, in essence starting bibliography

When we come back from the summer break, you will: have most of your fundamental research done:

•       You will have read and understood your theoretical material

•       You will have gathered the basic facts about your topic

•       You will have gathered the central visual materials to be addressed in your dissertation.

When we come back from the summer break, you will: have fortnightly tutorials with your supervisor.

•       If you have not started writing, this is the time to start

•       This does NOT mean that research ends

•       You will be asked to submit a final proposal with an  annotated bibliography of key materials around three–four weeks  into the module – list of bibliography and what they add to your argument or theme of dissertation.

•       YOU WILL NEED TO DRAFT AND REDRAFT SEVERAL TIMES.

•       YOU WILL NEED TO GIVE TIME TO THE WRITING PROCESS.

Referencing

DISSERTATIONS MUST BE APPROPRIATELY REFERENCED.

OTHERWISE THEY MAY NOT PASS AT ALL.

The standard format in Harvard:

Inside the body text:

(Surname, year of the publication, page number):

(Smith, 2012, p.47).

In the Bibliography:

In essence:

Surname, Initial. (year of publication), Title of Publication, Location: Publisher’s name:

Smith, R. (2012), Digging for Prehistoric Cakes in the Antarctica, Oxford: C.R.A. Publishing.

Articles in journals/magazines/newspapers:

Body text:

(Smith, 2013, p.57).

Bibliography:

Smith, R. (2013), ‘Climate Change Denial and Prehistoric Cakes’, The Journal of International Cake Studies, 20:3, (Autumn), pp.23–135.

Website: