Chase the compressed, black cylinder around the frozen surface.
On the first night of the strike,
Owen went to the market.
Movement
7 Minutes of Terror
Wow… talk about trying to stir up some excitement around a space launch. I can’t wait for it myself, I am a bit of a space nut; not so much the nitty gritty science of it but more how it can be conceptualized as truly exciting place to look for human creativity. I got this link to a video on APOD; it is the only website I visit on a fervent basis. Curiosity.
Deceased cats.
But more to the point, this video is actually quite hilarious, it is dramatically over cooked by about 15 minutes at 500 degrees Celsius. It is lurid and pornographic in a twisted way.
And if…
There is more. What exactly does more mean? Another langscape? Another landguage? It is nature to look at the fescue on the other side of the divide and wonder at its marvelous greeness, luscious velosity. But it is movement that is at issue, or rather displacement.
Roberto dell Griva sits by the gunwale of the shipwrecked vessel. He ponders the idea that what he sees before him is yesterday. When he sees a bird flying there, he knows it is not there now. He can’t swim. He knows that if he dives off the ship and swims toward the island, he will be swimming towards the day before. But, as mentioned, he cannot swim. Is this what it means to consider the verdosity of the fescue outside the limits of the enclosure? Of course it is. Get over it.
Touch re:touch
I am in the process of scanning and post-processing 4×5 negatives from a photographic survey of Fish Plants in Western Newfoundland. I have been photographing several sites over the past 4 years and have amassed a huge pile of images. There was a problem with a good portion of the negative stock I was using resulting in pin holes and other artifacts that forced a reconsideration of how things were going to be printed in order to preserve consistency and quality.
After much experimenting, a way was found to scan the negatives using a fluid mount system on the Epson 750. If one is careful to turn off most of the “correction” tools like automatic level and curve adjustments or scratch and grain correction, it is possible to get a scan that accurately reproduces the original negative. This will allow to process the image, make necessary adjustments and corrections while staying in control of the process and produce an image that will retain many of the qualities of the silver printing process.
Wen I return to the studio, I will begin posting some of these images to the Fish Plant blog and the CURRA website. I am still betwixt and between about how to present to work in these formats without, inasmuch, reducing the impact of “unveiling” the work in an exhibition context; it is necessary to control this kind of output so that the show can have some air of freshness when it is finally put together.
– Posted from GEDEON XXIII