BOW A3: Planning notes

I wasn’t beginning to panic exactly but about two weeks ago I was wondering if I was ever going to settle on something that felt tangible and a little more focused, something to really begin digging down into.

I’ve been concentrating on the ideas and theories that I’m trying to understand and not really making much in the way of work – although have continued looking/searching for footage and relooking at my own recent work to see what’s emerging.

There are some films I think may be useful. If they haven’t got any actual material in them which I’d like to use, then perhaps phrases or titles inspire me.

I had the following disparate entities along with ideas/responses so far:

  • A string of seemingly unrelated snippets of text  – some in the ongoing stream of Random Notes for a Short Story ##, and some other things that might be called poems – although I want to avoid that word and looking back over these, I think I will find a way of typesetting to avoid them looking like traditional poems and rather like prose perhaps using / between each line. This not only negates the sense of fixed poetry, but it also echoes Barad’s explanation of intra/relatedness. 
  • I looked at images I’d made in Italy (and not used in A2 but in another sequence). The themes are related but the images made me yawn even though they are quite nice photographs. (Hover mouse over image for explanatory captions written for the sake of this post)A convention of used footage (appropriated) downloaded from the internet to make new films, and also still images by simply screenshotting or else literally photographing my computer and the images on the screen – less frequently. My commitment to using digital habits/techniques is deliberate  – see DI&C A3. I have a very serious problem with the common notion in the arts and photography that digital media and techniques are less valuable or less interesting than analogue and historical processes. This trend strikes me as being mired in middle-class, excluding values. I am also echoing a non-Western tradition of valuing things we in the West dismiss – an animist worldview. This was referenced in the Barbican’s recent Digital exhibition AI: More than Human (2019), Nam June Paik retrospective, Tate 2019, and in Lupton’s Data Selves (2019) (citing Bennett’s Vibrant Matter (2009), Thing Power & Enchantment etc… and counters exceptionalism and binary thinking). I will continue in this vein because I think it’s really important to defy the ‘insidious unconscious reinforcers’ (Small, 1999)* that limit us. Artists, in particular, can be as backward-looking as the populists they claim to know better than who come across as if they want to go back to an imagined time that was ‘better’ – by rolling around in nostalgic practices while dismissing newer ones which give creative access to many, many more people.  This strategy of mine is not a wholehearted endorsement of all things digital. It is not a niave embracing of the new and rejection of the old. tech media is not immaterial as many think. It ‘is not clean’ – see CCA talk below. It is certainly not without its negative impact and connotations. As mentioned in a previous blog – this ‘is also explored in Vilém Flusser’s Towards a Philosophy of Photography (2012). The ideology is in the apparatus and photographers (all except experimental ones!) are flunkies or to use his word, functionaries – they ‘are inside their apparatus and bound up with it’ (loc 2086).’ (Field, 2019). (One of the people I worked with via Pic London is doing a talk in Glasgow which I can’t make called ‘Our best machines are made of sunshine’. CCA)
  • When I present work to a cohort of students who I meet regularly there is always a question about the form: ‘but is this acceptable? it’s moving image / or it’s about moving image and this is a photography course?’ It happens every time despite the fact I have sought reassurance from Wendy McMurdo (who suggested using moving image herself, just as I was discovering my long-term interest on the impact of cinema and its related activities on my developing sense of self), and Andrea Norrington (DI&C tutor); and reassurances have been verified by the fact both the tutors I now have are connected to and use moving image as well as other media. I do pass all of this on but yet, each time I’m once again questioned about my use of /reference to moving image. In terms of the recent essay, this questioning tells me I need to make a particular concept much clearer and will discuss when writing up feedback, but other than that, this constant questioning reveals a common confusion over what photography is and how still/moving differ and are the same. What’s more – it reveals the ‘Cartesian habit of mind’ (Barad, 2011) which I am at pains to deconstruct. It highlights the lines we modern Western humans are so desperate to impose. But – even my tutor asked, ‘are you going to concentrate on still or moving?’He has not been following my work for a while though so it’s somewhat forgivable. My cohort, if not avidly following my progress might have least have noticed constant freezing of moving images  – making a single frame out of several, focusing on the cut from one scene to another – where there is a blend of frames on view. They might have seen the reverse action – i.e. instead of adding many frames together to make them move, I have taken single frames and stopped the animation.  Then reintroduced animation while maintaining the stillness. Had they been looking they might have picked up on the desire to stop the ongoing simulation with its ‘insidious unconscious reinforcers’ (Small, 1999) and seen me step inside of it and take a look around.
  • I have explored the difference between film and still image – they are both the same at the centre. We humans either look at a single frame or we add many frames together to create the impression of reality. It is, however, an impression, we do not move at 24 fps and some filmmakers are experimenting with higher fps but we are so used to having an impressionistic view that we don’t always much like it in cinema. But video games, ‘today are developed with the goal of hitting a frame rate of 60 fps but anywhere between 30 fps to 60 fps is considered acceptable. That’s not to say that games cannot exceed 60 fps, in fact, many do, but anything below 30 fps, animations may start to become choppy and show a lack of fluid motion.’ (Klappenbach, 2019)
  • To reiterate – I am stopping the simulation when I take a screenshot or focus on the glitchy frames that show two scenes chopped together.
  • I am making work in the reverse order that is usually made/and chopping up the order.
  • I am looking at the capturing of light  – the core activity of still and moving photography. What happens afterward re the temporality we impose on our captured light (life) is also of interest because it relates to the constructive nature of existence  – which according to some visual scientists is what we ourselves do in any case even when we’re not making films.
  • See ancient mythology and compare to modern mythology (advertising whether honest or subversive in the cinema).
  • The following may be a useful paper for me –
    A New/Old Ontology of Film Rafe McGregor (2013)
    The purpose of this article is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre- traditional motion pictures belong to the same category.
    https://www.euppublishing.com/doi/pdfplus/10.3366/film.2013.0015 
  • Not wishing to introduce spoilers – but McGregor concludes ‘At this point in the second decade of the twenty-first century, however, digital film remains – like traditional film and its predecessors – the art of moving pictures’ and I suspect I will find that at the core of both film and still, regardless of digital or analouge  – the capture of light is the same thing. However, various processes enable different social outcomes due to access, cost, and social biases that are linked to ideologies feeding into them.
  • But – moving image (digital or analogue – once it’s on the internet, there is no difference) gives the appearance of being more like a wave than a particle and therefore, perhaps a useful means of conveying some of the ideas that come along with the particular weird phenomenon where particles behave like waves when measured under certain conditions – and related phenomena.
  • This resolute determination to exist with a Cartesian habit of mind in our institutions and society means two things for me:1. I have found a way forward for this project. I have ordered a Super 8 home movie made in 1971 from E-bay. I was looking for two things – a moving image format that I could cut up (made still) and it should have been made in the year I was born. I will use this alongside fragments of text and make a book (a3) and film (thereafter) with it. I will need to digitise it before cutting it up into what I will need and playing with it which might delay me slightly – but knowing it’s on its way means I am free to carry on writing in the meantime.
  • 2. But it also infuriates me because it’s about pigeon-holing. The need to categorise everything into arbitrary manmade labeled domains limits us exponentially. It stops us from seeing and accepting complexity and nuance. It filters out difference – see Barad ‘indeterminacy is an undoing of identity that unsettles the very nature of being and non being’. You can see this in England right now as it grapples with its identity crisis – what am I? British, European, Labour, Conservative, Liberal or none of them  – oh my god – how can I be all these things and none of them…’ aaargh!!!!’ goes the collective wail. It is reductive and insulting to keep pigeon-holing. It’s also rude and belittling. It is the antithesis of superpositions.

Summary:

  • My work is an attempt to visit a non-cartesian world and see what it looks like
  • It is a response to Cartesian reductiveness and habitual narrowing of meaning
  • It hopefully will do this via many intra/related mico-narratives
  • The themes are human temporality – both biological and mechanical, consumerism (the modern religion) and the relationship between narrative and the evolving worldview we are revisiting (we weren’t always in this place)
  • The process in CS is informing the potential outcomes in BOW for the momentOverall – I think the work could be called PLEASE for mercy’s sake stop with the arbitrary categorising, stop with the Cartesian habit of mind!! But it’s not very catchy, is it?
  • I am not decided yet but I may simply call the work CUT  (perhaps with a subheading about fragments for the modern consumer but I will decide later) linked to the fact I will cut up the film I’ve ordered, edits in filmmaking and meaning (see BBCs latest accepted ‘mistake’ re-editing different answers to questions to imply a new meaning) and links to Barad’s agential cut.

‘Kember and Zylinska (2012) use the concept of the agenital cut to argue that any attempt to impose meaning and order is an intervention (a cut) that produces specific effects, and is inevitably part of the matter it seeks to observe or document. They represent photography as a specific cut in meaning, a way of delimiting from all the choices available that can be recorded and displayed, and therefore, how meaning can be generated. It is the means by which things are brought into being by humans and non-humans (e.g. cameras) working together. Photography makes agential cuts that produce life forms rather than simply documenting them. It is a way of giving form to matter’ (Kember and Zylinska 2012:84) They do not differentiate here between moving and still photography (I would need to investigate further  but it makes no sense to in these terms.)

‘To see one must actively intervene’ (Barad, 2007:51 – citing Hacking)

*Quote taken from an anthropology book about the formation and feedback of culture and self in relation to cost/benefit ratios and social-economic needs. Although the book focuses on childcare practice cross-culturally, the premise is relevant. By looking at photography through the prism of child anthropology (along with the other intra/related disciplines I visit), perhaps I am engaging in a diffractive practice.

Refs:

Barad, K. M. (2007) Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Durham: Duke University Press.

Flusser, V. (2012) Towards a philosophy of photography. London: Reaktion Books.

Klappenbach, M. (2019) Understanding and Optimizing Video Game Frame Rates. [Gaming Magazine Online] At: https://www.lifewire.com/optimizing-video-game-frame-rates-811784 (Accessed 02/12/2019).

Lupton, D. (2019) Data selves: more-than-human perspectives. Cambridge, UK ; Medford, MA: Polity.

Small, M. F. (1999) Our babies, ourselves: how biology and culture shape the way we parent. New York; London: Bantam ; Kuperard.

BOW/CS: To-do-list

  • Do BOW A3 coursework
  • Add peer feedback comments and response to relevant page CS A2
  • Make adjustments to draft where necessary
  • Update where I’m at with BOW A3 planning and ideas
  • Begin writing (in note form if necessary) CS A3

It’s busy here (pre Xmas/school/work etc.) and I am feeling a little overwhelmed with everything that needs doing in order to keep on top of deadlines, as well as not losing touch with the unfolding thread. I think the hardest thing is about this – other than the difficulty of pulling apart thoughts relating to a tricky subject  – is doing two courses together. Managing time and thoughts is incredibly challenging.

Ordering of the above:

  1. Update where I am with BOW A3 planning/ideas
  2. Add peer feedback to CS A2
  3. Make adjustments to CS A2 where I can at this time
  4. Do BOW A3 coursework
  5. Begin writing CS A3 plan and 1000 word sample

 

CS/BOW Reflection: Long

I felt it would be useful for me to pause and consider where I am at this juncture, and where I came from in order to arrive here. The OCA has been an immensely useful container but the journey I’m on, the desire to understand something fundamental but hard to pinpoint began long before 2014. Perhaps as long ago as when I was a child watching how strangely the grown-ups behaved and wondering why. Or noticing how we (I) emulated others; accents, behaviours, tropes, and then absorbing these actions and making them ours (mine).

This will be a long post and is for my benefit rather than anyone else’s – it feels necessary and important to get these thoughts outside my head as a part of a process in relation to CS and BOW.  And also, that it should be more conversational as opposed to confined by the rigours of academia although the habit to identify quotes is strong nowadays. Ruth (previous CS tutor) had suggested experimenting with form for CS and so I won’t rule out including sections of this, or developing it, if down the line that seems like a route I would like to take.

I started making notes for this blog yesterday as I marched along the street, sweaty because it was very mild and I was dressed for the artic, muttering to myself about what exactly it is I am exploring here in this work; I began to formulate a narrative that linked my life with the theories and ideas I am looking at.

Right now, I think it always starts with digitisation. I am fascinated by the revolution we are currently living through, by the assumptions people make about it. About where it comes from, what it’s doing, why we’ve contrived to arrive at this point (without volition – is that possible? Or is contrived the wrong word?)

Groups used to be smaller. For most of our evolutionary history, we lived in manageable extended families. Across cultures, there were some basic similarities. Nikolas Christakis covers these in his book Blueprint (2019). He talks about a social suite, which ‘includes individuality, love, friendship, co-operation, learning and so on’.

He also talks about the dyadic nature of humans. I really like this. It’s a word I came across when I was reading about babies and their primary carers. In the baby literature, it implies living in this secondary invisible placenta; it contains mother and child. Both are deeply connected within and even shielded from something outside the dyad. Not all mothers experience this. And modern culture seems to makes it challenging for genuinely dyadic relationships. Some people suggest the high numbers of post-natal depression are related to this failure to connect – and I suspect there is some truth to that although it can also be down to a lack of support, which is of course, another connection with other mothers/parents/helpers – or allo-parents, a term used by Sarah Blaffer Hrdy, a socio-anthropologist who writes about mothers.

I was lucky. I did experience a deep connection with all of my children. During my divorce, I seemed to be able to protect my youngest in this little bubble from all the toxicity outside of it. It also taught me that symbolic language isn’t always necessary  (I should have been far more consciously and intellectually aware of this given my acting training)- that we can communicate without it, even while we are asleep. And that has been very important throughout this course. I’ve learned that symbolic language is a distancer. It helps us to distance ourselves from ourselves, never mind anyone or anything else. “Use your words” is a constant refrain to toddlers who prefer to lash out when angry. We ‘otherise’ ourselves, remove something and in the process de-intensify it – be it rage or love – through the use of symbolic language whether it’s written down or simply spoken. We send our thoughts out into the world with language; a little bit of ourselves leaves our bodies and lands elsewhere. It can land as a caress or a weapon and it has an effect but, while wounding with words can be devastating and the cause a chain of fatal events, it removes us from direct violence. Again, Christakis discusses this, as does Richard Wrangham in his book The Goodness Paradox (2019)

A little bit of us – a thought that gets heard is something that can affect others.

In a dyad between a mother and child, something else is going on. Physical reactions take place that don’t need words, not even as thoughts. A baby wakes in one room and your breasts start leaking in another. The prickly sensation of your milk ducts filling up is what alerts you and you check in to see your infant’s beaming face  – and they seem to have known you were on your way. I’m painting an idyllic picture  – it’s not always like this, obviously. And some women and babies have a really terrible time. There is so much in modern culture which gets in the way of the connecting behaviours that evolved to help us survive. But somehow most mothers (although not all) and also fathers overcome the many, many obstacles. When your child falls over, a jolting sensation takes place in your own body as if you too have fallen. The theory suggests mirror neurons are responsible, which apparently exist in all primates (and beyond no doubt). It happens with other relationships too but it’s very noticeable in parent/child pairs.

Christakis discusses the hyperdyadic nature of the human species. In other words, we are all connected, that is how we operate. Hegel talked about collective consciousness.  Edward O’ Wilson has spent a lifetime investigating the hive and applying it to human behaviour. Social contagion or mimetics are other words to describe this phenomenon. Despite sounding so modern, it seems plain as day to me that we are networked creatures and always have been. Christakis’s earlier book is indeed titled Connected (2009). These connections mean that ideas spread around cultures and groups even when there has been no physical contact. Wilson discusses this strange ability seen throughout history when inventions take place in more than one place at the same time.

The Internet is a response to a lack of connection, perhaps in particular relation to population growth. As groups got larger, we stopped being connected. Social fragmentation, evident in the artwork of the early 20th century is one expression of this loss of connection between people and in relation to how reality felt. We humans then ingeniously came up with a way to address that. We dug down into reality and found a way to emulate it. Despite its relative technological advancement our code is still a crude copy. And there is a problem. The code we use to make these connections is a language. It underpins all the forms and media that we see on our screens, which is also another layer of language. So inherent and embedded in the anatomy of the Internet is a process of distancing. What’s even more difficult, as my lovely and intelligent friend rages about often, the people writing the code are very frequently a certain type. “They are the nerds!” she states angrily. “The people who aren’t naturally social, who don’t understand relationships, who are on the spectrum and can’t communicate. The ones who don’t have any empathy!” This is blatant stereotyping but the people writing the code are aware there is a problem. They know they need to write empathy into the code. They know this. However, for now, empathy is missing and the fact the whole thing is structured on language which is itself a distancing process means there is a structural problem which we may never be able to overcome, although I have faith in humanity

We can be optimistic because while we have collectively tried to re-connect using digital technology, which emulates natural linkages, today we’ve not even begun to see just how powerful our technology will be. This is both frightening and exhilarating. Once quantum computing moves out of its infancy we will not only emulate ‘hyperdyadicness’ (not a real word, I know), we will reach a point where simulation and nature are interchangeable. There are many, many foreseeable and unforeseeable problems but we will go on an incredible journey as our clever people look for the solutions.

We have begun the process though. So far it has wrought terrible consequences in the form of nuclear war. But what we’ve lost over time as language developed and civilisation grew is currently being rediscovered through quantum science and systems theory (which is interdisciplinary – don’t underestimate how crucial that is). People often see similarities between Eastern philosophies and the newer sciences. But I am wary of spouting racist claptrap. However, it is well documented that the Dalai Lama is interested in quantum mechanics and Luisi and Capra (2007) devote a carefully written chapter to the relationship between spirituality and science.

Karen Barad’s book Meeting the Universe Halfway (2007) deals with the philosophy of quantum science. She cannot stress the importance of entanglement enough. She explains how ideology and world-views are embedded in the apparatus’ and the framing of our experiments and subsequent related objects and behaviours. This embedding is also explored in Vilém Flusser’s Towards a Philosophy of Photography (2012).  The ideology is in the apparatus and photographers (all except experimental ones) are flunkies or to use his word, functionaries  – they ‘are inside their apparatus and bound up with it’ (loc 2086).

What stops us from seeing this is our ‘Cartesian habit of mind’ (Barad, 2007). Both Systems Theory and quantum science urge us to move away from the strictures of a Newtonian/Cartesian worldview where isolated objects exist in a void universe and nothing is connected or relational. Entanglement has been lost in our understanding of reality and we are working our way back to incorporating it now. But there is a long way to go and it’s on the fringes of society – although arguments to suggest it is becoming embodied through our interactions with digital data.

The problem with arbitrary lines around isolated objects is that it too often engenders a simplistic, black and white of view of the world. (And that is being kind.) This can be seen across disciplines and in photography it is endemic. Photography which claims so loudly to be a ‘caller out of injustices’ seems in fact to reinforces unhelpful mentalities, undermines any attempts to move away from hierarchical thinking, narrows down meaning, oversimplifies complex issues, attracts monism, flattens nuances, strips away context and relationships. Still photography in particular entrenches all of that. It isolates and insists on objects in a void. It suggests the opposite of a ‘dynamic and shifting entangling of relationships’ (Barad, 2007: 35) no matter how hard people point out – and writers such as Ariella Azoulay have done -– that history and the objects we construct are forever subject to re-examination, are alive with possibility and liveliness.

There is something inherently unavoidable and entrenched, in particular in still and analogue photography. I look at the ontology of a photograph and see that at its core, still and moving image are one and the same thing. We may intervene and add lots of frames together or else we isolate a single frame but they are both an agential cut (a Baradian term which I will explain more fully in my extended essay and in BOW). It’s the isolating that causes problems.

I find it hard that people fail to appreciate intra-relatedness. My interactions with a secondary school shocked and enraged me too as my child was being so badly affected by their entrenched position in an out-dated reality, in a constructed and ludicrous simulation of the past that is no longer relevant and entirely inappropriate to its surroundings, and that they seemed utterly oblivious to emergent changes to the world or else angrily against them. This is especially unhelpful for young people who have grown up with the problematised Internet which, despite its many issues engenders a networked view of reality. It is frustrating beyond belief that so many want to drill down into detail so tiny, they leave no room and can only focus on single issues, which they hope will somehow communicate something greater, rather than simply isolating themselves and their ideas in the void. It astounds me how this habit of monism fails us but is still so prevalent and is taught in schools and colleges and universities; but then I recall the citation which I begin CS A2 (draft) with by Capra and Luigi: ‘It [this habit I’ve described] derives from the fact most people in our modern society, and especially large institutions, subscribe to the concepts of an outdated worldview, a perception of reality inadequate for dealing with our overpopulated, globally interconnected world.’ (2014) Inadequate is the key term here. Inadequate. This old way of seeing and being will not serve us going forward. That is not to say we should forget history. We can’t. Because in an intra-related world the past is enmeshed with the future and the present. We must, as Azoulay (2019) recommends, re-evaluate our Cartesian linear view of time.

In my work I am, like the child who watched and noticed the adults and my friends all copying each other, performing roles, connecting. We have always done this. The Internet makes it visible. It somehow speeds the process up (See Virilio (2008) on speed and technology). The breaks are no longer in place. But we will write them into the code again. In the meantime, I do believe we need to find ways to communicate and explore intra-relatedness. We must challenge linear understanding, flat thinking, monism. Not everyone I value or follow agrees that there are no objects, that process supersedes things. However, we have lived with that myopic view for so long in the West and it has taken us to a very dangerous place. And so it behooves anyone who has the capability of addressing and deconstructing it to do so.

CS & Bow: research Myth and Science Fiction

Like anyone on Academia.edu I’m bombarded and overwhelmed with potentially relevant titles from them and have had to put a mental block in front of any response to them for fear of information overload. But this title is immensely relevant for me.

https://www.academia.edu/7515758/Science_Fiction_as_the_Mythology_of_the Future.

Haven’t read it yet but feel it’s worth exploring even if only for references in the end. So storing here

CS / BOW Research: Actor-Network Theory

 

From Hollin’s paper (2017) – actor-network theory. For me what is so interesting is the taking up of theatrical terms in social sciences. I don’t think this is just a weird happenstance but a specific relation to the fact that theatre has long been a laboratory; if we put these people in this situation and make these things happen what would happen? I don’t think it is worth arguing against Michael Freid – his dualistic thesis is tied up in a way of seeing that we have moved away from – something can be worthy/valuable/appealing whether they are theatrical or anti-theatrical and something can be an object in this decade but a piece of art in the next or visa Versa – context and what this speaker refers to as messy networks are what makes meaning, not the style. Am thinking about the above – which also explores power,  as ‘an aesthetic allusion’. Not what an individual is exerting, but token moving through a network. Sees actors as non-human and human. The ‘study of relationships’. 

CS A2: A new draft with peer feedback

This is now much more focused on a specific line of inquiry.  I feel like this has put me in a better place to begin putting words down for A3. (I hope!)

rewrite- CS Assignment 2 Can you be dead and alive at the same time_ Draft 6

Comments and some reflection to be added later.

Adding 5/12/2019 (although they arrived prior to that nad presented here in the order they arrived  – my responses in Orange)

  • Read your Lit Review and have the following comments: Firstly – an excellent review of the position you are taking.
    • In some ways it feels like being close to a completed essay, much like John did, and could see you fleshing it out to provide a final essay.  I feel the shape is just about where it needs to be too and I can use the progression/layout here as a starting point for A3/4 etc. 
    • Maybe needs a link to your work, but that could come in the final essay,
    • To be really picky, there is some inconsistency in your citations in the text. (I did not check the bibliography)
    • The use of italics for emphasis is maybe superfluous – I did not highlight all of them, – thank you
    • UCA Harvard refers to Figures not Images, so OK in body but should have List of Figures , not ‘Images’ OK
  • Something I picked up from the UCA (site links below) was that the list of illustrations goes before the bibliography. I’ve followed these for mine. I wasn’t sure about the sentences under the images. Should they be in the text? (yes, I am really pushing boundaries here – something to look into. – I wrote in an email discussion
    I expect if it repeats what’s in the body it’s fine, if it echoes what’s in the body one is flirting with danger, if it adds info – it’s probably not such a good idea. )

    The intimates using text examples e.g (see fig 1).
    Like Doug, I thought you had to refer it back to your BOW. (God there are so many opposing suggestions re. this point from students and staff. My BOW and CS work is clearly very much connected but BOW is as it should be right now, an unfolding emergent thing – at the moment the CS work is informing the BOW ideas but there is nothing to see except for experiments of A1 and A2 which might feel completely unrelated, an email from eBay confirming a purchase of some Super 8 film shot in the US in 1971 (my year of birth) and a bunch of disparate bits of text. I suspect for any students reading this – that in each case it will be different. It will depend on your work and your process. I suspect there are no hard and fast rules, rather tendencies. The tendency would be to include some reference to one’s own work but it is not necessary especially if not relevant (although how one makes work and then writes about something that isn’t related is puzzling) – or if it doesn’t further your argument. 

    https://www.uca.ac.uk/library/academic-support/harvard-referencing/

    https://xerte.ucreative.ac.uk/play.php?template_id=93

    The formatting is obviously something one wants to get right  – good habits are great to get into and I will revisit. I am confused (as I think many others are too) about what is expected of us if we have already mentioned citation info in the body – which we might do if relevant  – then thereafter we need only put the page number or ibid if continuing. I am not sure if this convention is acceptable or if it is what my peer is referring too but I have been looking at and taking on board what academic writers do and noticing when they seem to be following Harvard guidelines (as far as I understand them). If one need only put (date) or (pagenumber) after a quote or reference rather than (name, date, page number) because the information has already been established, that should suffice – surely. Even if that is not what we do every time. Is this comment is referring to, I wonder. I will need to clarify in case it is about something else which I’ve not cottoned on to.

     

    example

     

  • I’m going to put these here & have included an annotated doc with more suggestions.
    • There are two main topics of conversation in the introduction: Why is the narrative of quantum theory relevant to representing our sense of reality today? & Is digital or analogue more suited to this type of representation? I am not sure I see this as a problem – but will re-look at my phrasing. The main issue I have and which I am working against all the time is how entanglement functions, is seen by modern Westerners and effects academic practice, and how the separation of related topics is discussed. I am also coming round to the idea that the issue is not about the difference between analogue and/or digital although that is a relevant issue – but rather than the difference between fixedness and dynamism. Still analogue speaks to a world in which things are fixed. Moving image, regardless of media conveys less fixedness. Digital media has dynamic movement and possibility built into it – regardless of what happens thereafter, i.e. whether we focus on a single frame or many (giving the illusion of movement) and speaks to and conveys a world that is not fixed but dynamic.  Fluidity is not some kind of Nirvana for me – it has its problems as we see, but it is what we are dealing with in the world today. 
    • I think you then go on to talk more about the perception of reality as it has been moulded by the invention of photography, and I’m not sure that the digital/analogue debate is as relevant as the question of technology. Gosh!! – this is what all my work is ALL about – I must have completely failed to convey the crux of my entire inquiry – the anatomy of the media we use emerges from and feeds back into culture/perception : see notes which I dropped from DI&C essay re Victorian mechanics (Early draft example of DI&C essay (draft 3)The author of the article explains film cameras are like vinyl records amongst millennials, which suggests analogue and film are a curiosity from a foreign land, the past, amongst people who were ‘born digital’; perhaps in a similar way to how the aesthetics of Victoriana are adopted by a popular sub-genre, Steampunk. Steampunk references Victorian technology and mixes it with futuristic, (which might be seen as a reversal of Derrida’s Hauntology where the past acts as a spectre within the present.) Within the Steampunk astheatic, the future haunts the past, as narratives are often set in alternative histories, where our future fantasies become embedded. Such fantasies might be interpreted as fascination in its truest sense, as our fear of transforming from human to post-human, and then on to non-human expresses itself.
      ) – The digital/analogue debate is critical within multi-layered, entangled, issues related to representation ∴ representationalism. Digital is the media (for now) of the masses which allows people from all walks of life to express themselves – it is also the language of control and manipulation used by advertisers (of all kinds, inc. political ones). It has led to the proliferation of ‘voice’ across the whole spectrum of society. It has also allowed propaganda to be spread much faster than and further than previously. We should not/cannot separate social media or digital photography and how it is used from data in general:
    • See Self & Other A5 text  – “Photography (still and moving) attracts plenty of attention as the possible culprit for “destabilising truth and reality. The bombardment of images makes valuing them a challenge. In an article querying their reliability LA Times journalists, Carolina Miranda and Jeffery Fleishman, tell us “…in our social media-frenetic world, images careen at hyper-speed across a politically divisive and dangerous landscape, where they are celebrated, manipulated and often degraded. A picture can be altered and a video edited with such alarming swiftness and precision that it is difficult to scroll back to its unadulterated original…Alternate realities have become hobgoblins of our time.” (2018)
      Just under two decades ago, Andy Grundy for the New York Times wrote, “In the future, it seems almost certain, photographs will appear less like facts and more like factoids – as a kind of unsettled and unsettling hybrid imagery based not so much on observable reality and actual events as on the imagination”. He continues, “This shift, which to a large extent has already occurred within the rarefied precincts of the art world, will fundamentally alter not only conventional ideas about the nature of photography but also many cherished conceptions about reality itself.” (1990) One might justifiably argue conceptions of reality are changing dramatically in light of digitisation. However, they’ve done so frequently in the past, throughout our relatively brief history and often due to previous technological advances. They will undoubtedly continue to evolve. To borrow Mr Peachum’s excellent words: ‘that is all there is to it’. And beyond that, humanity may indeed be ‘shit’. However important and destructive and godlike we think we are as individuals, however collectively critical we might be about NOW, we have long been full of it.” (Field 2018 – extract) 
    • See: “I think it’s an oversimplification [social media being to blame for a distrust of science]. We know from history that you don’t need social media to spread disinformation, you can do it with old-fashioned media. However, I do think social media has made it worse because it’s now possible to get disinformation out to incredibly large audiences rapidly at very low cost. A bunch of guys in a basement can now do a lot of damage and do it pretty quickly” (Lawton/Oreskes 2019)Read more: https://www.newscientist.com/article/mg24432580-600-naomi-oreskes-turn-your-anger-at-science-denial-into-political-action/#ixzz67EaekWF6Analogue is limiting. Although women and non-male, non-white people, non-dominant ideology subjects, of course, have made work with older tech, the space, money, time one needs to use analogue materials prevents many from doing so. This impacts heavily on the perception of reality – so much media made privileged and arguably quote myopic people who have limited experience of life, literally never had to think about being black or poor or uneducated –  and my DI&C essay is all about that issue. Within an entangled discussion about an entangled subject – this is key. 
    • The ‘Flexible Unlearning’ section is too dense and summarising the ideas in the quotations will also focus your thoughts. I am looking for places to cut words but I am not sure this is the place – although I will relook. I was encouraged by Andrea (previous tutor) about comments regarding my ‘sophisticated use of quotes’  used to ‘drive arguments forward’. Something to speak with Matt about
    • The two bits on moving image and consciousness don’t seem to fit here (p7-8)
    • I agree that the examples are too long and that there are examples within Photography that might be worth looking at (see below). Have noted that this section is where I can make cuts but I very clear that the first two examples are absolutely right  – although I need to set up a dialectic in the second example which I can do, having seen tutor feedback to other student’s work which clarified things a little for me about images being a phenomenon and or object/memori mento. Another peer’s comments made me realise I need to really underline and heavily signpost why I have used these two examples – this comment underlines that need. The final example can be replaced by another  – and I think I may have found one I’m happier with. 
    • I like the ‘Another Life’ example but can’t see the link to the Haraway and Lupton in the last couple of paragraphs. Condensing this section will, again, focus your ideas. Hopefully, this will be more obvious once I’ve spelled things out but just to reiterate, William is a Cyborg. He is also the future of a photograph. He is also an obvious human Other – see many, many, many texts relating to Cyborgs to Otherness. See page 183 – Fred Ritchin quotes Harrawaycyborhharrowayritchin007.jpg
    • You mention Elkins saying that photography is boring but don’t actually reference this in your main section on him (p6). Useful point
    • The last paragraph feels very much what the focus of the review should be and I kept looking at your extended essay question which I think is much more precise.
    • Suggestions for examples section:
      • Noriko Yamaguchi – performance artist http://www.mem-inc.jp/keitaigirl/artist.htm
      • Juno Calypso ‘The Salon’ https://theculturetrip.com/europe/united-kingdom/england/london/articles/see-this-fantasy-beauty-salon-by-juno-calypso/
        I know this work is very popular – I am not convinced by it despite the fact it is striking and obviously very effective. 
      • Armin Linke – for photography as intra-related
      • Sohrab Hura ‘The lost head & the bird’ – for contemporary reality – ThinkI will be including this artist but not this work and came across it via 
      • Vincent Morisset – for game / interactive / installation / performance – merging of media & technology
      • Possibly (I couldn’t get them to download onto my v old iPad) see BJP April 2016 ‘Weird Science’ & April 2017 ‘Scratching the surface’. Should be in the UCA library.
  • I found this mostly engaging, but found the Examples in Popular Culture and Art section problematic for two reasons:
      • A lot of words per example – feels like two much detail for this length of essay Agreed. -it’s the section that isn;t working for me tight now. 
      • That the examples are all moving image See previous blogthis also tell to I need to spell things out more – I know you address this in the essay but your question (about whether still photography is embedded in a dying ideology) risks undermining the premise that this subject is worthy of an extended written project on a *photography* degree

 

There is some useful feedback here. Mainly because it shows me where I need to make things much more explicit – since I use the process of writing to think, to inquire, to figure things out, it is through reading and re-reading what I write, and then seeing how others receive it that I begin to understand the complex ideas I’m exploring in others’ writing and how that fits with my overall inquiry. However, the conservatism mentioned by Daniel C Blight (see below) on Twitter or the ‘Cartesian habit of mind’ Karen Barad discusses is strong in photography – and in academic photography training – and I feel like (even if I were the clearest simplest writer in the world) one is constantly working against that trend.

It is also very important for me to see that others have not been on my journey – my inquiry is long and expansive. My inquiry ‘explores debates beyond a simple education course forum’ (DI&C feedback 2019). It dates back to my time as a child watching grownups behave weirdly and noticing moments getting lost forever, people copying each other. To when I first began reading child/baby anthropology books because the usual baby fodder was boring, reductive, ideologically-informed and at times, quite, quite mad. i.e. ‘Don’t look your baby in the eyes’ !!!!!!

I also think when sharing these ideas with other photography students I will need to tread carefully – I am not saying their work is ‘boring’ (it isn’t). I am saying still photography is limited and limiting and ‘such and such’ may be the structural reasons why.

https://twitter.com/DanielCBlight/status/1199286943533731840?s=20

 

 

CS: A3 Research direction/question

I’ve been thinking … and beginning to reach an idea/draft research question

Entanglement

At a time in our history where a Cartesian [isolated, discrete unrelated objects in a void universe] view of life is increasingly being left behind, can still/straight photography ever be capable of expressing an entangled view of reality? Or does photography’s history and ontology condemn it forever to being a reinforcer of fixed (and many would argue – outdated) realities?

Peer responses here and in comments below blog:

1. First thought – ‘Entangled’.
Wow, quite a complex idea, but then I suspect I am of the ‘Cartesian’ way of thinking.  Maybe as a counter I would posit that everything is made up of discrete elements but that today there are more links and they are easier to make.  As a result still/straight photography is still quite capable of providing a view of reality.
I think that you have formulated a very interesting topic and although the title may alter the concept of still images still being relevant in presenting a view of reality is an interesting one.  I look forward to this.
2.  It’s a fascinating question, concisely but comprehensibly worded. Go for it.The key will be making your response to the question understandable to the ‘average academic reader’. It’s potentially such a complex (and to many people, abstract) subject that you’ll need to keep checking that what you’re writing doesn’t only make sense to you 🙂

But as a starting point, as a research question – this is great.

3. So it’s an exploration of the Cartesian model (which I would personally find very interesting) and then of straight photography and it’s relevance to, I assume, new models of realising reality (again really interesting)

There are some really important questions in this! It’s a great starting point and I thing it’s a very coherent thought process. 👍🏻 [Coherent! – that’s a first for me!]

CS & BOW: Research Critique of Barad

 

Looking for a critique of Barad’s work I have come across this which confirms some of my concerns and questions, although rather more acerbically than I might have done. It begins with the following which made me laugh – humour in an academic paper, good! I do wonder if there is an element of peevishness in the article – will wait and see:

‘In Artful, her collection of critical essays, Smith (2013: 41) reminds us of a childhood game designed to break the boredom of long car journeys – ‘Ten points to the person who can see the Forth Road bridge’ – and points to its direct suitability to the situation of the academic conference: ‘Ten points to the first person who hears someone say the words Walter Benjamin.’ In recent years, it has been possible to play a version of this game substituting ‘Karen Barad’ for ‘Walter Benjamin’. If we add in bonus points for a cluster of terms taken from her book Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (2007) – especially ‘entanglement’, ‘diffraction’, ‘intra-action’ and ‘agential realism’ – then a fine game of ‘Barad Bingo’ can be had far and wide across the humanities and social sciences: from conferences on ruins, animal ethics and informational infrastructures to journal articles on lifelong learning (Edwards, 2010), bullying in schools (S ̄ndergaarda, 2012) and feminist theories of fashion (Parkins, 2008).’ (Hollins, et al, 2017)

 

Hollin, G, Forysth, I, Giraud, G et al. (1 more author) (2017) (Dis)entangling Barad: Materialisms and ethics. Social Studies of Science, 47 (6). pp. 918-941. ISSN 0306-3127

Click to access Disentangling%20Barad%20-%20version%20for%20repositories.pdf

Will report back with further notes – but good to see some counterpoints

  • What is it about Barad’s work that appeals to ‘now’ – which the authors admit is pressing today. “What is more, and as evidenced below (Figure 1), the influence of Barad’s work continues to grow, with the above outputs receiving significant year-on-year increases in citation counts. And this brings us to an important point: While Barad’s project spans twenty years, it is evidently of this moment.” (3)
  • ‘Questions are raised, however, about the applicability of concepts originating in the quantum realm and what is lost when they ‘jump scales’ and are used in order to grasp macro-sociological concerns.’ Barad herself actually warns against this kind of simplistic scaling up and claims to avoid analogy (5)Re second-mentioned concern is scaleability  – again dealt with by Barad – rather than scaling up, it seems to me she is suggesting implications at micro-level affect out thinking and even though the macro world is govenred by different rules, knowledge about more flexibity and possibility can nevertheless affect us, so not sure about this but I have only read first two chapters so will wait and see: “It does, however, mean that the issue of scale is particularly pertinent for those seeking to draw upon Barad’s work, and worth dwelling on.” (8)
  • Making matter matter, or, in search of lost realness‘ compare section heading to Foster Return fo the Real (6)
  • ‘We conclude the article by arguing that in much of the literature drawing upon Barad there is a focus upon diffraction and entanglement and that this has come at the expense of considerations of complementarity and necessary exclusion. We suggest, however, that it is the radical potential of an ethics of exclusion which is perhaps most vital to those continuing to use Barad’s work.’ (5)

  • ‘Re my own comments on peevishness: ‘Does the process by which ‘matter comes to matter’ in Barad’s thesis matter? When we call upon Barad to help secure an argument, how can we be sure that we are not suffering from a new case of physics envy – of the quantum variety?” (6)
  • ‘There are two entirely concordant consequences to this continuity between physics and social theory. First, Barad’s realism promises to firm up the ‘beneath’, to put it in Foucauldian terms, of knowledge (Lather, 2010) by offering ‘the weight of realism’ as ‘ballast’ against too much postmodernism (Barad, 2007: 43).”Objects, entities and phenomena are demonstrably instantiated in and by material practices, produced performatively in concrete situations and thus – crucially – can anchor political actions. This approach carries distinct ethical implications, on which we focus shortly.’ (8)
  • ‘Despite the obvious utility of diffraction, the section concludes with some thoughts on the possible merits of rescuing reflection.’ (11) see rest of section
  • I like this criticism:
    ‘In a recent article, Paxson and Helmreich (2013: 169) argued that:
    ‘[New materialism] is productive because it can shake thinking away from the certainties of social determinism, as exampled, canonically, in the Strong Programme in the Sociology of Knowledge – and because it can show that phenomena emerge in practice. But it is also risky, because new materialist tactics often veer towards universalizing metaphysical claims about the nature of ‘matter’ as such and also, at times, take scientific truth claims about the world at face value – a move that we consider a step backwards for STS.’ (13)
  • ‘The key terms within this passage – intra-action, agential separability, exteriority-within – all indicate that for Barad the separations between words, things, and knowers are real enough but these separations are effects of particular engagements with the world (p. 138). This is the crux of Barad’s agential realism.’ (16) Key for me too  – and can be applied to cameras and visual recording systems (some of which do not rely on sight or emulation of sight)
  • Barad’s understanding of the apparatus, then, is more expansive than in a ‘typical’ methods section, more-than-human in its composition, and emergent through practice. There are clear affinities here with actor-network theory (e.g. Latour, 1987: 162) Something for me to investigate further (17)
  • ‘Perhaps, we might speculate, for theorists whose bread and butter it is to consider the nonhuman and their relations with humans and other nonhumans, Barad’s considerations are neither seismic nor entirely novel.’ (17)
  • re tools – and thinking about cameras/visualising tools: ‘The stick cannot usefully serve as an instrument of observation if one is intent on observing it. The line between subject and object is not fixed, but once a cut is made (i.e., a particular practice is being enacted), the identification is not arbitrary but in fact materially specified and determined (Barad, 2007: 154-155). (18)
  • NBNBNB: Not only is cutting a boundary-making practice (p. 148), it is a process over which there is a degree of control. Thus, for Barad, boundaries are not only real but there is a degree of responsibility for their creation, the worlds that are made, and those that are excluded (p. 243). (18)
  • This emphasis on separability, exteriority and constitutive exclusion is a significant part of what makes Barad’s work distinct and important. It is also the part of Barad’s scholarship that is most frequently lost in the re-telling. (18)
  • ‘The concept of complementarity makes clear that, for Barad, when one apparatus instantiates a particular world another is necessarily excluded.’ (18) (At the risk of sounding slightly belittling and not meaning to, in popular culture, this is explored by Phillip Pullman  – pulverized and aneathetised by the BBC)
  • ‘We argue that the ways with which Barad’s approach has been engaged have resulted in an over-emphasis on questions of entanglement. In contrast, we suggest that the ‘radical potential’ of agential realism is in drawing attention to what is excluded from particular entanglements.’ (19)
  • A useful list of more-than-human writers: ‘Barad’s intra-active conception of the world offers a specific understanding of relationality that goes beyond earlier conceptualizations of hybridity (Haraway, 1992; Latour, 1993), a term which suggests relations shape pre-existing entities (Lorimer, 2015: 24). Yet, aside from offering a neat neologism that makes its difference from interaction explicit, on a superficial level, intra-active conceptions of the world do not appear to be wholly novel. Approaches that have considered the ‘mangle of practice’ (Pickering, 2010) such as posthumanism (Castree and Nash, 2004; Hayles, 1999; Wolfe, 2010), actor-network theory (Latour, 2005; Mol, 2003), non- representational theory (Anderson and Harrison, 2010), vital-materialist approaches (Bennett, 2009), engagements with cosmopolitics (Stengers, 1997, 2010, 2011; also Hinchcliffe et al., 2003), or object-oriented ontology (Bogost, 2011; Harman, 2012), all stress the agency of more-than- human entities and make clear that the human is shaped through encounters with other agencies.’ And add Deborah Lupton to this re Data Selves (2019)
  • The clearest description of performative for me yet – ‘Barad’s understanding of reality as enacted rather than pre-given similarly troubles pre-defined ethical hierarchies such as human/animal, subject/object, and nature/culture, as a way of thinking about the world.’ (19)
  • ‘Barad could thus be situated as part of a longer lineage of work that has collapsed the ontological and epistemological and turned attention to the performative composition of reality (e.g. Mol, 2002; Star, 1992).’ (I thinkI still need to figure out why this is not constructivist  – see the sentence about performative being not entirely or much at all re volition-) (20)
  • ‘We question the ease with which Barad’s work has ‘jumped’ between diverse scales and urged that attention be paid to frictions between scales, and what may be lost precisely because it is not scalable’ (23) Hayles (1999) seems to answer this when she describes the way we instantiate our movements and actions while we use computers – the technology for these computers often emerge from a range of inte-related sciences and technologies where quantum mechanics plays a significant part – See loc 698 and then Chapter 3 on how information became so important to theorists and scientists via the Macy conferences – how this conversation which informed military and computer sciences and ‘infected’ reality
  • Hard not to disagree with the following or any other form of information which becomes a holy grail and therefore dogma spouted by dogmatic, excluding followers. ‘Despite seeing a number of potentials in agential realism, however, it is important to caution against uncritically extolling the value of this approach. As Willey (2016: 993) powerfully argues, it is dangerous to position new materialism as a radical break from feminist, postcolonial STS (see also Sundberg, 2014), and uncritically valorizing agential realism can lend strength to this trap.’

 

BOW & CS Notes: Meeting the Universe Halfway, K.Barad, 2007 (Intro & Chpt. 1)

This book is vast and complex so I think I might try to make notes as I go. Although there is a risk in reading it that I will be carried away in unhelpful albeit exciting directions, I think it is worth taking because as I move through it I am beginning to have specific ideas about what I’m aiming to explore – and it’s very much linked to ‘seeing’. In DI&C A3 (2019) I began to explore the tendency for photography (both academic and more popular forms) to engage in hierarchical thinking, despite the fact that individuals within it often make great claims about using photography to interrogate society. This results in photography reinforcing rather than dismantling segregation of various forms.

Equipment and output are (perhaps catastrophically?) ‘entangled’ with the history and uses that engendered photography’s invention. I quoted Ariella Azoulay’s blog posts Unlearning the Origins of Photography (2018) which I now see are influenced by the same undoing of a Cartesian mindset that exists in Barad’s writing. I will also need to revisit Flusser’s Towards a Philosophy of Photography (2012) as the ‘apparatus’ – i.e. the social and economic machine in which the camera exists seems relevant.

So here are some bullet points notes for now:

  • Begins with an analysis of Frayn’s play Copenhagen (first performance 1998) (rave reviews and repeated runs across the globe) which she says is beautifully written but flawed – then goes on to say why, effectively lumping it alongside a ‘plethora of popular accounts that have sacrificed rigor (sic) for the sake of accessibility, entertainment, and if one is honest, the chance to garner the authority of science to underwrite one’s favourite view’ (6) I can imagine Frayne taking umbrage with this as it potentially says films such as Marvel’s Into the Spiderverse (2018) for instance which also uses a backdrop of multiple universes and fluid realities for its well-worn but nevertheless entertaining narrative structure are no different to his intellectual production. (I’ve not seen the play but really love Into the Spiderverse, incidentally…)
  • re the play, ‘we are left wandering aimlessly […with] only an empty feeling that quantum theory is somehow at once a manifestation of the mystery that keeps us alive and a cruel joke that deprives us of life’s meaning’ (17)
  • However, Neils Bohr, in particular, has called into question ‘an entire tradition in the history of Western metaphysics: the belief that the world is populated with individual things with their own set of determinate properties. The lesson that Bohr takes from quantum physics  is very deep and profound: there aren’t little things wandering aimlessly in the void that possess the complete set of properties Newtonian physics assumes’ […] “Which properties become determinate is not governed by the desires or the will of the experimenter but rather by the specificity of the experimental apparatus.”
  • ‘the very nature of intentionality needs to be rethought’ (22) i.e. we can assume nothing in isolation and the network/schema/surrounding landscape in which an intention emerges is always intra-dependent. (I will get to the use of intra-rather than inter shortly)
  • ‘intentions are not pre-existing determinate mental states of individual human beings’ & intentionality “might better be understood as attributable to a complex network of human and nonhuman [cameras for instance and the companies that make them] agents, including historically specific sets of material conditions that exceed the traditional notion of the individual’. (23)
  • ‘an entangled state of agencies’ (23)
  • She avoids analogies  – especially between people and particles and I will do well to heed her warning against doing so – reductive and simplistic
  • is interested in ‘conditions for the possibility of objectivity, the nature of measurement, the nature of nature and meaning making, and the relationship between discursive practices and the material world’  (24) This is where I am having some issues. First of all, because I had to get my head around ‘discursive practices’ as opposed to discursive writing – the latter is a description of a type of writing that flits from one subject to another and is a pejorative term (my writing!)  The former is a complex Foucaldian term which is very difficult to comprehend… discourse-related performative actions in human behaviour in which power-relations are played out. The most useful description is as follows: 

‘The discursive practice approach is grounded in four insights concerning discourse. One is the affirmation that social realities are linguistically/discursively constructed. The second is the appreciation of the context-bound nature of discourse. The third is the idea of discourse as social action. The fourth is the understanding that meaning is negotiated in interaction, rather than being present once-and-for-all in our utterances.’ From http://voidnetwork.gr/wp-content/uploads/2016/09/Discursive-practice.pdf

My problem – and this runs throughout the Barad and New Materialism material I’ve read (still reading, still trying to understand and a way to go) is that, while I appreciate that language has been given more attention than material/matter as Barad argues in debates about power – language and verbal action are in my understanding material and that distinction between the two is what prevents people up from valuing digital language (code, digital photography) which they see as non-material and therefore less worthy (in art especially). (See Lupton, 2019, How data came to matter (79)) The other thing is, assemblages and intra-actions which include discursive practices, as well as matter, don’t exist in isolation which is the base of her world view (which also tallies with systemic theories as far as I can see – again, based on very basic knowledge). I am aware I have not yet got the gist of Barad’s arguments about matter so – watch this space  – I might get it eventually.

  • diffractive approach  – this suits my way of thinking and I wholeheartedly agree. One of the issues with photography writing in some instances is that it seems to have tunnel vision and excludes all else at times leading to phrases such as ‘photography changes everything’ which I briefly dismantled in DI&CA3. Photography then ends up being seen as a holy grail in some people’s minds when in fact it is one mechanism amongst many that contribute to meaning – and the flat, still, decisive moment kind might just be the most irrelevant and in Elkin’s terms ‘boring’ example of reality out there nowadays. (2011) Again, Lupton’s explanation of a diffractive approach, which refers to Barad, is useful. (29)
  • ‘a diffractive methodology is respectful of the entanglement of ideas and other materials [ideas = materials] in ways that reflexive methodologies are not (29)
  • agential realism – recognises agents both human and non-human that exists in and acknowledge the real but eschew both anti-realism/constructivism as well as realist insisters “a philosophical framework that […] entails a rethinking of fundamental concepts that support such binary thinking, including the notions of matter, discourse, causality, agency, power, identity, embodiment, objectivity, space, and time’ (26) – See page 48 for more inc. ‘representationalism is so deeply entrenched in Western culture that has taken on a common-sense appeal’ (48) What’s the alternative? Describe/how does photography reinforce this and can it help to critique it, if so how? – performative approaches
  • central – ‘matter as a dynamic and shifting entanglement of relations rather than a property of things’ (35)
  • Bohr: ‘we are part of that nature that we seek to understand’. ‘part of the phenomena we describe’ (26)
  • NBNBNBNB ‘Performative approaches call into question the basic premises of representationalism’ (28)
    ‘representationalism in the belief in the ontological distinction between representation and that which they purport to represent’ (46) [I think revisit Rubenstein’s crit of Freid – Failure to Engage for more on this]
    ‘ther are assumed to be two distinct and independent kinds of entities – representations and entities to be represented’ (46)
    ‘Performative approaches call into question representationalism’s claim that there are representations, on the one hand, and ontologically separate entities awaiting representation on the other, and focus inquiry on the practices or performances of representing’ (49) Knowledge comes from ‘direct material engagement’ (49)
    See page 50 for Realism without Representation – where does all this tally with Hoffman’s theory in which our only access to the world is via representation alone. His representation is wholly constructed, it does not accurately describe the real but fulfills our needs for existing within it – therefore it is our real because its the only one we have.
    ‘Theorists who adopt a performative approach are often quick to point out performativity is not the same as performance, and to merely talk of performance does not make an approach performative’ (60)
  • Intraction – 33. ‘The neologism signifies the mutual constitution of entangled agencies’ – a good deal of photography-related critical theory seems not to recognise this mutuality. ‘the primary ontological unit is not independent objects with independently determinate boundaries and properties but rather what Bohr terms phenomena. ‘The shift from the metaphysics of things to phenomena makes an enormous difference in understanding the nature of science and ontological, epistemological and ethical issues more generally’. (33)
  • ‘realism is often saddled with essentialism’ (55)
  • ‘theorising and experimenting are not about intervening (from outside) but about intra-acting from within, and as part of the phenomena produced’ (56)
  • builds on ‘Foucault’s critique of representationalism and Bulter’s gender performativity’  – ‘gender is not an attribute of individuals’ (57) This would apply to poverty, class distinction, ‘race’, sexuality  – all emerge as ‘a doing’ – performing
  • ‘what is at stake in this dynamic conception of matter is an unsettling of natures presumed fixity and hence an opening up of the possibilities for change’ (64)

See Fred Ritchin’s final chapter After Photography (2010) as a possible intro into finding ways to use digital photography to bring these quantum influenced ideas into the discourse beyond scientific circles.

Think Zizek has critiqued Barad and will need to find it and see what he has to say… :-/ Been comparing what I recall of A Systemic View of Life 

Azoulay, A. (2018) Ariella Azoulay – Unlearning Decisive Moments of Photography. [online blog/forum] At: http://www.fotomuseum.ch/en/explore/still-searching/authors/10605_ariella_azoulay (Accessed 15/11/2019).

Capra, F. and Luisi, P. L. (2014) The Systems View of Life: A Unifying Vision. (1 edition) Cambridge: Cambridge University Press.

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