body consumption curation enhancing the everyday photography technology
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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
consumption everyday photography publication rainbow Wabi Sabi
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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
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.
consumption enhancing the everyday football: football sculpture
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consumption everyday Reading: Barthes consumption semiology semiotic
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“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.
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…”