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27 Feb 2017, 4:04pm
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Sobriety coins

sobriety coin is a token given to Alcoholics Anonymous or other 12 step group members representing the amount of time the member has remained sober.

When a twelve-step member is presented with his or her first chip, they are often told, “This chip represents AA’s commitment to you – not your commitment to us”. Sobriety coins themselves do not necessarily help the holder stay sober, but studies have shown a connection between the visual presence of the coin and the holder’s self-resolve. The coins are meant to motivate the holder to continue their abstention from the subject of their addiction.

14 Nov 2013, 7:06pm
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My Things 2001 – 2009 by Hong Hao

My Things 2001 – 2009 by Hong Hao above, began 12 years ago, with all the goods that the artist consumed being scanned piece by piece to create a visual diary, then categorised and made into a collage.

via Creative Review – Oil fields, sex dolls and a 12 year diary of consumption.

Luke Evans & Josh Lake: I am a camera

We’ve seen some odd student projects in our time here at CR, but this must go down as one of the oddest: two Kingston students created human photograms by swallowing 35mm film, then, erm, expelling it, and recording the results

Luke Evans (above) and and Josh Lake (below) are in the final first year of the BA Graphic Design & Photography at Kingston University. For their final major project they “wanted to bring our insides out” they say. “So we ate 35mm photographic film slides and let our bodies do the rest.”

Both students ate pieces of 35mm slide film, ‘expelled’ it in the dark, fixed the silver and then scanned the pieces using an electron microscope in order to record the traces their bodies had left on the film’s surface.

“The full-sized images are 10,000 pixels on the longest edge, allowing you to see every detail of what our bodies produced,” they say, as can be seen from this shot of the work on show.

See more of Luke Evans’ work here

And Josh Lake’s here

 

Creative Review – I am a camera.

Mandy Barker: SOUP

SOUP is a description given to plastic debris suspended in the sea,
and with particular reference to the mass accumulation that exists
in an area of The North Pacific Ocean known as the Garbage Patch.
The series of images aim to engage with, and stimulate an emotional
response in the viewer by combining a contradiction between initial
aesthetic attraction and social awareness. The sequence reveals a
narrative concerning oceanic plastics from initial attraction and
attempted ingestion, to the ultimate death of sea creatures and
representing the disturbing statistics of dispersed plastics having
no boundaries.

All the plastics photographed have been salvaged from beaches
around the world and represent a global collection of debris that
has existed for varying amounts of time in the world’s oceans.

The captions record the plastic ingredients in each image providing
the viewer with the realisation and facts of what exists in the sea.

Hyperfood

Does anyone know anything about this artist? His name?

HyperFood – Class of 2007, Expérimental Art Department, Central Academy of Fine Arts

Fishbones and seashells sculpture

via Funkyng Life

Nike’s giant World Cup balls up

How (and why) Leicester-based Ratcliffe Fowler Design helped Nike create a sculpture out of 5,500 footballs in a South African shopping centre

Creative Review – Nike’s giant World Cup balls up.

22 Aug 2009, 2:01pm
consumption flying:
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large_062108kites4ac

Via

This kite from China and assembled in the U.S. flies at the Art in the Sky Kite Festival at the Stone Quarry Art Park near Cazenovia Saturday. The kite built from recycled plastic bags depicts 34 figures jumping rope. It was built by Yong Mao Huang of China visiting the area with theire daughter.

Cultural Consumption and Everyday Life (Cultural Studies in Practice), John Storey

P28
“Myths are the stories societies live by. They provide ways of conceptualising and understanding the world, and therefore they are crucial to a society’s efforts (always in the interests of dominant groups) to construct and maintain a sense of self-identity (in terms of acceptable sameness and unacceptable difference). For Barthes myth attempts to become society’s common sense”- to produce and put into circulation modes of thinking in which what is cultural (i.e made by humans) is understood as natural (i.e a result of the laws of nature). Barthes’ concept of myth is very close to Marxism’s understanding of ideology in that, like ideology, myth is a body of ideas and practices which seek to defend the prevailing structures of power by actively promoting the values and interests of the dominant groups in society. Myths is successful to the extent it is able to naturalise and universalise the interests of dominant groups as if they were the interests of all members of society.
To understand this aspect of Barthes’ argument we need to understand the polysemic nature of signs; that is, that they have the potential to signify multiple meanings”

P30 (on the Paris Match cover)
“What makes the move from primary signification (denotation) to secondary signification (connotation) a possibility are the shared cultural codes on which both Barthes and the readership of Paris Match are able to draw. Without access to this shared code (conscious or unconscious) the operations of secondary signification (connotation) would not be possible. And of course such knowledge is always both historical and cultural. That is to say, it might differ from one culture to another, and from one historical moment to another. Cultural difference might also be marked by differences of class, race, gender, generation, or sexual preference.

P31
As Barthes explains, reading closely depends on my culture, on my knowledge of the world, and it is probable that a good press photograph (…) makes ready play with the supposed knowledge of its readers
Secondary significations (connotations ) are therefore activated from an already existing cultural repertoire (…) and at the same time adds to it.
This is a process of cultural consumption as manipulation in which we as readers are active and complicit participants”

P44 The making of Class Difference

Pierre Bourdieu looks into how what social groups consume is “Part of a strategy for hierachicising social space”. “He shows how arbitrary tastes and arbitrary ways of living are continually transmuted into legitimate taste…”