Who is the practitioner (what is their name?) and when were they practicing?

Nam June Paik, born in 1932, was a Korean American artist considered to be the founder of ‘video art’. Paik practiced from 1962 until his death in 2006 after becoming a member of the experimental art movement Fluxus.

What is the title of the photo or video you have chosen to analyse (can you provide a link?) 

‘TV Buddha’

https://www.artgallery.nsw.gov.au/collection/works/342.2011.a-f/

With the photo or video, you are examining when was it produced (date)?

Although there have been multiple ‘TV Buddha’s, this one was made in 1976 in Sydney after John Kaldor invited Paik and his collaborater, cellist Charlotte Moorman to create a piece for the Kaldor Public Art Project in Australia.

How was the photo or video authored?

This ‘TV Buddha’ was authored using an old wooden Maitreya (Buddha of the future) from the Kaldor collection, as well as a television monitor, video camera, tripod and plinth. It employs a conceptual use of video in which the camera and the monitor loop in real time, blurring the object-subject distinction with self indulgence, technology and self acceptance. Comparisons can also be drawn to modern day reality TV and its affect on society as ‘TV Buddha’ serves as a earlier interpretation of that.

How was the photo or video published?

This ‘TV Buddha’ was published in Sydney at the “From Christo and Jeanne-Claude to Jeff Koons: John Kaldor art projects and collection,” exhibition at the Museum of Contemporary Art in Sydney on 12 Dec 1995 – 17 Mar 1996

How was the photo or video distributed?

This ‘TV Buddha’ was then displayed at these following exhibitions:

• Journey to now: John Kaldor art projects and collection, Art Gallery of South Australia, Adelaide, 18 Apr 2003–06 Jul 2003
• Nam June Paik, Art Gallery of New South Wales, Sydney, 10 Jan 2004–08 Feb 2004
• 40 years: Kaldor Public Art Projects, Art Gallery of New South Wales, Sydney, 02 Oct 2009–14 Feb 2010
• Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016

Other ‘TV Buddha’s have been on display at multiple Museums around the world including Virginia Museum of Fine Arts, James Cohan Gallery, Harvard Art Museums and many more.

Pictures of this ‘TV Buddha’ and information about it is also on The Art Gallery of NSW’s website allowing for another form distribution. Additionally, other websites with photos and videos of other ‘TV Buddha’s are circulating on the internet.

References:

https://en.wikipedia.org/wiki/Nam_June_Paik

https://www.artgallery.nsw.gov.au/collection/works/342.2011.a-f/

https://publicdelivery.org/nam-june-paik-tv-buddha/

Who is the practitioner (what is their name?) and when were they practicing?

Photographer Henri Cartier-Bresson (1908 – 2004), Began a life-long passion for photography in 1932 after spending a year in the Ivory Coast, where he discovered the Leica camera. Although labelled a photo-journalist, Cartier-Bresson considered himself as a surrealist artist. It is said that he would search for a visually stimulating area that would create a good composition and wait for his ‘decisive moment’ to occur (The New York Times, 2016).

What is the title of the photo or video you have chosen to analyse (can you provide a link?) 

Title: Palermo (Boy with Wheel)

Where: Palermo, Sicily, Italy

When: 1971

With the photo or video, you are examining when was it produced (date)?

The photo was taken in Palermo, Italy in 1971

How was the photo or video authored?

This photo was taken on black and white, 35mm film using an analogue camera. Cartier-Bresson was known for his exclusive use of Leica camera’s and his candid photography which became known as “The Decisive Moment”, the same name of his first book published in 1952. “The Decisive Moment” is the singular moment in which the photographer has the opportunity to capture a photograph that accurately reflects the time, place and culture, a skill he learnt from hunting. (Zanon & Sabbag, 2017)

“For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.”  -Cartier-Bresson

This photo is an example of his dedication to ‘the decisive moment’. It is shot on a diagonal angle with two little boys playing with a bicycle wheel and a stick on the footpath in the foreground. In the background we see a street full of traffic dominated by a large black hearse. This photo, in my opinion, is the epitome of the decisive moment and Cartier-Bresson’s expression “the camera is a sketch book”. This photo represents the balance between life and death. The juxtaposition of the youthful boys, full of life and energy. Opposed to the hearse, a symbol of death and a staple at funerals, stuck in traffic going no where. Both moving in opposite directions unaware of each other further implying the juxtaposition. Even the small Italian economy cars in the background are bright cheerful colours when compared to the hearse, implying contentness in the current situation, almost as if they are saying “It’s not great being stuck in traffic, but at least I’m not in a hearse.”

All that you can draw from this image makes it more than just a photo (again, in my opinion). It’s like a painting by a revered artist that has come to life. A photo that captured a decisive, powerful moment.

How was the photo or video published?

Due to the photo being taken with a film camera, It would’ve been developed, which Cartier-Bresson apparently didn’t like, even opposing enhancements and edits to images after they were taken, which detracts from the decisive moment that photo was taken. According to Christie’s (2019) although taken in 1971, it wasn’t published until 1990.  Analogue cameras capture photos when the shutter opens for a split second, allowing light to pass through the lens, which is reflected onto film which is a light sensitive plastic. This film is developed in a dark room, which is lit with red light so that you can see what you’re doing without destroying the film. In the dark room, the film moves through a series of chemicals from developer, to stop bath and then fixer. This creates a film negative, which can have light shined through it in order to cast the photo onto light sensitive paper which creates a positive print. Due the technology surrounding analogue cameras, this method of publishing greatly differs from how we publish photos now (Woodford, 2018).

How was the photo or video distributed?

Although I can’t find any information on ways this photo was distributed, due to the technology and typical methods of distribution at the time, the photo would’ve been distributed through print media. It is most likely that it would have been shown at one of Cartier-Bresson’s many exhibitions he held all around the world from 1933 – 2006, or one of his many books published between 1952 – 2006. Exhibitions, books and other print media would have been the only way to one of his photos back then. However now, with the internet, replicas and copies of this photo and others can circulate online through sites like Pinterest, tumblr, Artnet, Google Images and Instagram as well as his own photography cooperative Magnum Photos, which he co-founded in 1947. The circulation of Cartier-Bresson’s images allows for a re-distribution to happen, exposing his work to a new generaion.

References:

https://www.magnumphotos.com/photographer/henri-cartier-bresson/

https://en.wikipedia.org/wiki/Henri_Cartier-Bresson#Photography

Zanon, W.R & Sabbag D.M.A 2017, ‘Henri Cartier Bresson’s Decisive Instante and Indexation: An Exploratory Study of Photography and INdexing Methods’, Digital Journal of Library and Information Science, vol.15(3), pp.639-714.

The New York Times 2016, ‘Henri Cartier-Bresson, Whose “Decisive Moment” Shaped Modern Photography’, The New York Times, 3 August, viewed 5 April 2019, <https://www.nytimes.com/interactive/projects/cp/obituaries/archives/henri-cartier-bresson-photography>

Woodford, C 2018, Film Cameras and 35mm Photography, Explain That Stuff, viewed 5 April 2019,<https://www.explainthatstuff.com/how-film-cameras-work.html>

Christie’s 2019, 100 photographies provenant de la Fondation Henri Cartier-Bresson, Christie’s, viewed 5 April 2019, <https://www.christies.com/lotfinder/Lot/henri-cartier-bresson-1908-2004-palerme-italie-1971-5494214-details.aspx>

This week we had our first online Zoom class (first of many it seems). In the online class Seth cleared up any of our confusion surrounding Assignment 1. He then used a student’s Assignment 1 draft as an example as how we can get a good grade. Overall I found the Zoom online class to be a good substitute for face-to-face classes in a time like this as it still allows for collaboration and has useful features like screen share. Although, as ironic as it may seem coming from a student, I can’t wait to get back in a classroom.

After the online class was the lecture which focused on multiple key words from the course prompt. ‘Affordances’, ‘Instagram’ and ‘the network’.

In the lecture Elaine defined new media, social media and Instagram and there relationship between each other. She used an analogy of a plant in a jar to help define these terms.

New media is like the jar. It’s a container with the capacity for things, cultures, communication practices to move/grow/emerge. It is digital, sometimes online and always evolving. “A strategic term for studying all kinds of media formats as long as they are evolving” (Siapera 2012, 5)

Social media is the like the roots. It takes advantage of mew media’s capacity and produces in accordance to the environmental conditions, however it is limited to mew media but can take many forms.

Instagram is like a leaf. It is a consequence of, and dependent on new medias and social media conditions for its own growth.

New media, social media and Instagram all exist in the same micro climate, with new media being the main context.

I found this to be very clarifying as I have in the past used the terms new media and social media interchangeably. I now have a better understanding of what they are and their relationship between each other that dictates their definition.

After the clarification of new media, social media and Instagram, Elaine then focused on ‘the network’ especially focusing on Web 1.0 and Web 2.0.

Web 1.0 was the previous mode of the internet that resulted from the web being too technically inaccessible for most people to create and interact with. It was harder to publish and produce content as it required technical skills. This resulted in passive usage habits and higher production costs as it was harder to market effectively to the public.

Web 2.0 on the other hand is the current mode of the internet that involves a high degree of participation. Compared to Web 1.0, it has a lower barrier to entry allowing for easier publishing, producing, authoring and accessing of content. This resulted in more engagement and interactivity. It also saw the explosion of user-generated content which made it easier for marketers to gain insight for their demographics.

Although we have already briefly looked at ‘affordances’, ‘Instagram’ and ‘the network’, it is useful to revisit them at the end of the first Assignment before moving onto the next assignments and other key areas of the course prompt.

This week in the tutorial (the last one seemingly for a while) we had Elaine as Seth was sick. Because last week’s tutorial and lecture fell on a public holiday we didn’t have it, so this week Elaine recapped and went through last week’s topic which was affordances. After we were up to date Elaine then went through what is expected with the blog posts and the first assignment.

After the tutorial was the lecture which focused on this weeks topic of: ‘The Network”.

From the readings, we gathered 4 main insights.

1. THE INTERNET IS NOT THE WEB

This was something that I wasn’t aware of as I used both terms interchangeably, which now I realise  isn’t the case. Elaine used a great a analogy to make both terms clear. The internet is like the roads, and the web is the shops. The internet is the framework that the web lives in.

2. THE WEB DECENTRALISED INFORMATION

The three main methods of distributing information is centralised, decentralised and distributed.

Centralised information when all information comes from one point. For example a village having one newspaper.

Decentralised information is when information comes from multiple points. For example a city having multiple newspapers.

Distributed information is when every person has access to information. For example everyone having their own newspaper.

The web radically distributes information in a mode that is highly networked and non-hierarchical. Information on the internet uses the distributed mode of information dissemination.

3. “THE NETWORK” IS A COMMUNICATION PARADIGM

The internet depends on communication. It is like a train network, each stop (or website) is visited by commuters using the rail tracks and trains (internet) to connect information in a hyper decentralised form.

4. USER-GENERATED CONTENT AFFECTS US ALL

The web affords user-generated content to be shared and viewed by anyone with a connection. This is great as it democratises everything from information to video content. We no longer rely on people educated in a specific field to show us what we need. For example, we can now watch videos on YouTube filmed by someone with their phone. Rather than watching a video on a projector managed by a projectionist, filmed on a video camera by someone who went to film school to use. “New media technologies have profoundly altered the relations between media producers and consumers” (Jenkins in Lister et al 2009, 222). However, this means things that are false can be shared with with everyone thinking they’re real allowing things like false information to be shared and widely believed.

I found these insights from the readings very useful in understanding how the network works. Getting a better understanding of the network has made understanding the course prompt easier.