These pictures are, on the one hand, quite hauntingly beautiful – I can’t say why, but there’s something Gothic, something repressed and that creates something no one desires, yet we somehow enjoy it at the same time.
On the other, they present a challenging concept: creating a reality of dreams? What first comes into my mind when you think of this, is the age old question, of whether seeing is believe, or believing is seeing? Is reality a personal thing? Do individuals make their own reality/realities?
It is interesting that he seemingly needs the camera to be able to create a reality out of his dreams. Is reality something that needs to be tangible? Do we construct reality or is it something that is just “there”? We will never know… but it gives me an excuse to go and watch the Matrix now!
See this blog for more information: http://alden-tan.com/getting-out-of-the-matrix-life/
Photographs of the Burwash Correctional Facility in Ontario, Canada, present an interesting comparison with the photo’s of the Lancaster Moor Hospital/Asylum.
Note: “Correctional Facility” and “Hospital” - How does the language of the Correctional Facility, as opposed to the Prison, or the Hospital instead of the Asylum change the way in which we view these institutions? Are they places of rehabilitation, or are they places of confinement and captivity? Surely one is to care for people that suffer from debilitating illnesses, whereas the other is there to correct behaviour deemed socially repugnant? Or should that be the other way around?
What is the Camera’s role in these cases?
What would Foucault have to say about these?
The Guardian has posted the winners of this years Sony World Photography Awards:
I chose this image to post, simply because of its relations to concepts already covered on the course.
The relationship between the boy, and the photographer both shooting is interesting. Plus the oblivious look on the woman’s face in the window, about to soak, drench, the photographer is priceless.
Themes in this could be seen as obvious, but we also have gender dynamics at play as well as some orientalist qualities.
The western camera vs the rifle (yes, both are western inventions but why is the seemingly more dangerous one given to the subject?). Also the position of the female figure, higher in the composition, but trapped within the domestic space.
I will leave this discussion at this point: now we can all have our own opinions on the piece, and whether it is a worthy winner.
Some curious collective ethnography at work here: