The Disposable Camera Project was done by Colour Box Studio based in Merlbourne. The Colour Box Studio is a pop up art space and online creative hub. The director, Amie Batalibasi, decided to do a project using a disposable camera. There were nine participants who took part in the project. They get asked to fill a disposable camera with images over a period of 24 hours. The project had been going on for 3 years. Each of the participants have their unique style and perceptions. What they view as a good image all varies. The project achieved a vast difference in style of images and subject. A book was created containing all the images called “The Disposable Camera Project.”
The disposable camera project draws in on the idea of freedom of expression because it allows people to expressive themselves and show their own unique outlook of the world thorough photography. A disposable camera allows people who may not be use to using a camera to be able to very simply capture a scene or a scenario they find beautiful or interesting. It gives them an easy way of expressing themselves.
Colour Box Studio Disposable Camera Project First Edition 2013 installation view. Photo by Shari Trimble.hotos by Colour Box Studio Disposable Camera Project Participants: Cara Thompson, Charlotte Wardell, Nicole Kennedy, Vanessa Lee, Suyin Lim, Emma Numan, Gareth Kaluza, Modesta Gentile and Rahima Miriam.
When researching more about photographers who use disposable cameras, I came across an article on the internet about a guy called Matt Blodgett. He is an American Photographer and full time construction worker. The article I came across was an interview including Matt Blodgett and the process he goes through when taking his images. He is 31 years old and grew up on the Canadian border in the Thousand Islands of upstate, New York. He recently moved to southern Berkshire County in Western Massachusetts where he was originally born. When Blodgett was asked about why he uses disposable cameras a lot he explains how they allow him to have fun with photography. He believes that some photographers take photography to seriously, which in some cases is very true. Blodgett doesn’t see him self as a photographer but when it comes to disposable cameras the implicitness of it allows any one to do it. What he aims to share with his photos is a “rolling diary of imagery that I live with and love.” He doesn’t think before he shoots, he simply takes what he views as beautiful. Here are some of Matt Blodgett’s images below.
His images are mainly of nature because this is what he views as beauty. He is similar to the photographers I have researched so far because the images that he collects are from day to day and they contain this spiritual atmosphere. I plan on collecting images in a similar process to this as a point in my project. They don’t need to have a deeper meaning, just a simple object or scene will do.
I’ve given myself the task of collecting images in the same style and process as the one done within the disposable camera project. I bought a simple disposable camera from boots and kept the camera with me throughout a couple of days. Whenever I saw something interesting that I wanted to capture I made sure I got it. However I was looking close at detail rather then just the whole scene.
Following on from your first task of Rule Breaking your next task is write your own manifesto with a set of rules that you follow creatively in making a new set of photographic images, experimental film-making or video art.
A manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party, government or an artistic movement.
In etymology (the study of the origin of words and the way in which their meanings have changed throughout history), the word manifesto is derived from the Italian word manifesto, itself derived from the Latin manifestum, meaning clear or conspicuous.
Political manifestos from Britains three main parties, Labour, the Conservatives and Liberal Democrats in the last election in 2017.
Here a few examples of manifestos made by Jersey politicians
Futurism Manifesto written by the Italian poet Filippo Tommaso Marinetti was published in the French newspaper Le Figaro in 20 February 1909. In the manifesto Marinetti expresses an artistic philosophy, Futurism, that was a rejection of the past, and a celebration of speed, machinery, violence, youth and industry.
MANIFESTO OF FUTURISM
We intend to sing the love of danger, the habit of energy and fearlessness.
Courage, audacity, and revolt will be essential elements of our poetry.
Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap.
We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.
We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
The poet must spend himself with ardor, splendor, and generosity, to swell the enthusiastic fervor of the primordial elements.
Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
We stand on the last promontory of the centuries!… Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.
In 1924 French Poet, Andre Breton published a Surrealist Manifesto which sets out specific terms on which to be creative and make art as a reaction against another art movement, Dadaism.
POEM
A burst of laughter
of sapphire in the island of Ceylon
The most beautiful straws
HAVE A FADED COLOR
UNDER THE LOCKS
on an isolated farm
FROM DAY TO DAY
the pleasant
grows worse
coffee
preaches for its saint
THE DAILY ARTISAN OF YOUR BEAUTY
MADAM,
a pair
of silk stockings
is not
A leap into space
A STAG
Love above all
Everything could be worked out so well
PARIS IS A BIG VILLAGE
Watch out for
the fire that covers
THE PRAYER
of fair weather
Know that
The ultraviolet rays
have finished their task
short and sweet
THE FIRST WHITE PAPER
OF CHANCE
Red will be
The wandering singer
WHERE IS HE?
in memory
in his house
AT THE SUITORS’ BALL
I do
as I dance
What people did, what they’re going to do
An example of a poem published as part of Breton’s Surrealist manifesto.
Tasks 1. Research and read at least one political manifesto and one manifesto from an artistic group or movement. Describe differences and similarities used in their use of language, metaphor and vision – 1 blog posts.
2. Analysis: from your chosen artistic manifesto, choose at least two key art works for further analysis that have been made as response to the rules/ aims/ objectives of the manifesto. Describe techniques used, interpret meaning/metaphor, evaluate aesthetic quality – 1-2 blog posts.
3. Planning: Write a manifesto with a set of rules (5-10) that provide a framework for your new shoots and overall project. Describe in detail how you are planning on developing your work and ideas in the next two weeks. Think about what you want to achieve, what you want to communicate, how your ideas relate to the themes of FREEDOM and/or LIMITATIONS – 1 blog post.
4. Record: Produce at least one shoot by Mon 12 March.
5. Experiment: Edit a selection of 5 images with annotation – 1 blog post.
6. Evaluate: Choose your best image and evaluate with reference to your manifesto and contextual references – 1 blog post.
7. Present: Print best image and prepare a 1 min presentation Wed 14 March in class around the table.
Extension: Write a new set of rules and repeat the above process.
Help & Support:
See link to manifesto in Wikipedia which has a hyperlinks to many manifestos, both political and artistic.
How to write a manifesto? Read more here
A manifesto is a statement where you can share your…
– Intentions (what you intend to do)
– Opinions (what you believe, your stance on a particular topic)
– Vision (the type of world that you dream about and wish to create)
Political parties makes a manifesto that sets out their political values and views on issues such as education, health, jobs, housing, environment, the economy etc and pledge a set of policies on what they would do if they got elected.
As there will be an election in Jersey during the exam preparation and the fact that you are all eligible to vote it makes sense to explore what manifestos exist in local politics. Unlike the UK, Jersey doesn’t have a political system with large parties, such as Labour, Conservative, Liberal Democrats and so on.
The parliamentary body responsible for adopting legislation and scrutinising the Council of Ministers is the Assembly of the States of Jersey. Forty-Nine elected members, 8 island-wide Senators, 29 Deputies and 12 Constables representing each parish sit in the assembly. There are also five non-elected, non-voting members appointed by the Crown (the Bailiff, the Lieutenant Governor, the Dean of Jersey, the Attorney General and the Solicitor General). Decisions in the States are taken by majority vote of the elected members present and voting.
Find out more here on the official Government website: gov.je
In Jersey there is only one small political party Reform Jersey (3 members). Some politicians, such as Senator Philip Ozouf,Senator Lyndon Farnham publish a manifesto in advance of an election so that the public can learn about their political views. Hustings in each Parish will be taken place during the month of April leading up to the election day 9 May 2018.
Artistic Manifestos
Here is a a list of art movements that you may use as contextual research. Many of them produced various manifestos
Here are a list of artists/ photographers that may inspire you associated with the above art movements and isms:
Vito Acconci, John Baldessari, Yves Klein, Bas Jan Ader, Erwin Wurm, Chris Arnatt, Richard Long, Hamish Fulton, Joseph Beuys, Chris Burden, Francis Alÿs, , Sophie Calle , Nikki S Lee, Claude Cahun, Dennis Oppenheim, Bruce Nauman, Allan Kaprow, Mark Wallinger, Gillian Wearing, Marcel Duchamp and the Readymade, Andy Warhol’s film work, Steve McQueen, Sam Taylor-Johnson, Marina Abramovic, PipilottiRist, Luis Bunuel/ Salvatore Dali: , Le ChienAndalou, Dziga Vertov: The Man with a Movie Camera
Here are the Instagram pages and websites of the other, smaller artists I will be following and taking inspiration from for my project looking at fashion among young people in Jersey and the different trends people take up and the brands they where. The artists listed below are people I follow on Instagram and who I will be using as a guideline in terms of the style of their imagery. Some of the photographers listed will be part of a sole blog post where I look at their work, analyse it and discuss how it will influence my onw but some of the photographers below are smaller, less influential photographers who photograph for the magazine PUSH and these will just be shown in this blog post as a guideline for who I will be looking at for my own project.
The purpose of this blog post is to include all relevant to links to my inspirations for easy access for myself to access at any point and for readers to see, all in one lace, the photographed who I will be taking inspiration from for my work.
For my exam project, I have decided to focus my time on exploring the theme of fashion photography, and, in particular, streetwear fashion and the photography that surrounds this genre in relation to both freedom and limitations, but more so freedom. I have begun planning this idea briefly but intend to carry out much more research on the background, history and context of this type of photography because it something I have never done before but have wanted to for a long time; also a contributing factor to why I have decided to carry out a project like this.
My primary intention was to use streetwear fashion as a way to combine my interest in fashion and brands with photography and document this ever-growing and ever-changing industry with my camera. I then started developing my ideas more and began to think of other ways I could explore this. I began collating some inspirations and other artists I could use as well as thinking of what I want my final product to look like. Artists I saw I could as inspirations include modern, contemporary and young UK based photographers Vicky Grout, Ben Awin and Saskia Ivy. Furthermore, I had recently purchased a music/fashion magazine called PUSH. This a UK based company that produces monthly issues of their magazine which covers upcoming artists and their fashion and the trends they are following. The magazine is completely free and the only fee paid is the postage an packaging price. As soon as I saw this magazine, I was instantly attracted because of its heavy focus on design, graphics, typography and photographs; visuals as a whole and when the magazine arrived and began reading it, I was hooked on creating a magazine alike to this because I felt I would be able to utilise my ability to create effective design and graphics for features like the cover page and different layout styles within the magazine. I then decided that for my intended project looking at fashion and trends of youth in Jersey, my final product could be a magazine and I came across this feature to create magazines on Blurb when I was producing my book for my coursework.
I began carrying out some brief research into other contemporary artists I could use as inspiration and as a guideline for how to go about producing my own fashion imagery. I started looking on Instagram for any new artists I could follow and began to come across recommendations for young photographers to follow when browsing the internet. I found several different websites which were advocating the work of several young, UK based photographers who are beginning to make it big in the fashion/music photography industry, in particular, an artist called Vicky Grout, 20 years-old who has already established herself as a household name in the way of grime music photography and has photographed the likes of Stormzy, Novelist and Skepta and J Hus.
Vicky GroutVicky Grout
A website I came across which was representing the work of five different young UK-based photographers can be found here and this is where I came across the work of Saskia Ivy and Ben Awin and in my PUSH magazine, Issue 3, the photography team is made up of about 10 different artist whoa re responsible for providing her visuals of the artists they are covering in the magazine and I can take inspiration from these photographers also for reference of contemporary work which will provide the main body to where my work originates from.
Furthermore, although I will be using the contemporary photographers such as the ones used above as primary influences to produce my own, it is important that I explore the history of fashion photography because it is so rich in information and visual evidence that has shaped the way fashion and art have integrated over the last 50 years as we have progressed into the 21st century and fashion is ever-changing with new trends. The line shave gradually been blurred between the combination of art/photography sand fashion and people feel it necessary now in a world driven by social media and photo sharing where people are constantly in the face of the public to be fashion-aware and document this with their camera and this why photographers such as Bill Cunningham made such a success out of his work as a street, fashion photographer and events such as London/Paris/New York Fashion Week do so well in terms of popularity, publicity and attendance because people see it as a chance to flaunt their to dress well and show their knowledge of the fashion world. I intend to produce blog posts outlining all my inspirations for this project as I continue to plan for the several shoots I hope to end up with which will contribute to my end product.
To enhance the sense of my final product being a magazine, I will be using text within also to add more structure, depth and body to the hard copy which will accompany the images also be written by me. The words will consist of interviews or statements from the models/individuals I photograph and my own words throughout to put into action my research produced throughout.
The project will consist of several shoots produced by myself looking at individuals in Jersey, and in particular young individuals and their own fashion and unique look – because everyone does have their own look and style which makes them stand out and it is these people that I will approach for the project. I have not yet decided whether I want to photograph both male and female or solely male. I came across a mini project by Saskia Ivy which looked at teenage boys in London and I feel like this could be a fascinating project if I were to also look solely at teenage boys in Jersey and photograph them both individual and in groups. However, I will explore all options further in other blog posts and alongside this, I intend to carry out practice/experiment shoots with models to get a sense of how I want to go about it.
Saskia IvySaskia Ivy
Alongside these photographers, I will be exploring the work of classic fashion photographers who pioneered the genre such as Bill Cunningham, David Bailey and Jurgen Teller as well as, briefly, the work of Terry Richardson, all of whom also pioneered the use of the street as a studio and this what I want to do throughout and don’t intend to use my camera in a studio set up at all so I can add to the feel of an urban look heightened by the fashion and clothes/brand worn by my models.
In terms of how I will retrieve models fro my project, my intention is to approach particular people with a style I feel will works – because I essentially a director in a film where I have to create shot lists (the photographs), the script (the interview questions), pick a cast (the casting director for models) and then I have to produce it all and make it all come together. Therefore, I will approach particular people I may be friends with but also may have never spoken to before but am aware of their style and look which I feel will fit the part. I already have ideas of models and these included my friends as well as people I am not too close with. However, an alternative is to distribute an advertisement on social media such as Instagram and let people come forward themselves but it nay result in me rejecting some people if I feel they will not fit the look I want to achieve.
My shoots will also require a lot of planning where I outline the colours and looks/style I want my model to style. I may, if I know a particular them of clothing I want he model to wear, tell them to wear it or will likely leave the outfit they wear on the day up to them. However, once on location for the shoot, I can improvise with poses and shot styles whether they be close ups or long shots. I will also need to plan thoroughly the locations I want to shoot in and intend for these to be quite urban, for example in town or in multi-story car parks like Minden Place on the top floor which is open air and over looks the whole of St Helier. I will also need to take into consideration if I am shooting with females, whether I want them to wear makeup or not and the style I want this to be.
The only issue I have encountered this far with my plan is my actual confidence with my intentions and whether to not I can carry my intentions out and follow through with them because I never done anything like this and don’t really know how to go about it. I will need to be every proactive, confident in myself and my abilities but my people skills are good so believe this will aid the communication between myself and my models and I wish to make the whole project fun, especially when out on shoots – it should be fun and exciting.
I also need to decide what format I want to shoot with but intend to, as I did in my coursework, to shoot on all formats, including digital, analog; in particular, with my half-frame film camera and as well as on my iPhone. The shots taken on my phone with the app ‘Huji’ will likely be informal shots to contrast that of the more formal, intended posed shots. I also want to combine colour and black and white.
Sheets attempts to retrace Rinko Kawauchi’s steps in this world through a reassembly and re-editing of her filmstrips as a reinvented whole. Cinematographic at heart, the sequences of randomly selected contact sheets offer a real-life time lapse, a resurrection of moments in the personal history of the artist and immortalised in some of her more significant publications. The book’s gatefolds mark intervals in this rhythmic crescendo. They contribute, as if under a magnifying glass, to new spontaneous pairings of images. It is all here, fragment by fragment, the elements and patterns of a primal cosmogony of varied affective nuances with their connotations of transcendental immanence—a palimpsest of the everyday that Kawauchi brings together with such astounding ease as if the flow of juxtaposing images were as natural to her as her own biological path in life.
This book contains a selection of contact sheets that spans more than a decade of works.
Within the book Sheets, Kawauchi has a section were she closely looks at the body and particular features such as the eyes and mouth. I really like how she strips back the original ways of looking at the human form and decides to create her own representation by embracing her own viewpoint and style. Her work is very raw and pure which I really like. I want to also embrace this idea of capturing things in a way that they’ve never been capture before.
The definition for creationism is: “the religious belief that the Universe and life originated from “specific acts of divine intervention” as opposed to the scientific conclusion that they come through about natural processes”.
Creationism takes the belief that all life was created by the actions of God. Some Creationists say God did this in a single creative event whereas other Creationists don’t limit creation to one event, but a constantly changing and adapting event. Therefore organisms created by God can’t produce new forms of organism – only God can do this. This links to survival because it shows that animals dont survive through chance, but they they have a specific purpose in life that they were created for to achieve. Christian belief is that everything was created by God for his pleasure and glory. “You are worthy, O Lord, to receive glory and honor and power; for You created all things, and by Your will they exist and were created” (Revelation 4:11). This theory therefore is composed of the idea that as the elderly passes away in nature and is replaced with the new, it is not so much because they don’t have the survival traits but the change found in nature is living evidence of God working in the world and re-enforces that creation is always happening and didn’t just happen once. This explores the freedom of what life is as opposed to death because where evolution argues essentially life among beings is an accident, creationism sees life as having a particuler purpose in that we are meant to explore the limits of freedom in our lives which ultimatley passes down onto the generation below.
Big bang vs 7 day creation. Baby, cells – microscopic cells
On the opposite hand, the Intelligent Design theory claims that some sort of supernatural designer was involved in the creation of life on Earth. It differs from Creationism because it divorces Creationist ideas from their roots in Scripture that a specific God had a purpose for everything he created. Life on Earth – and also the universe- shows so much order, purpose and design that there must have been a designer. Some living things contain certain types of complexity that are best explained as the result of an intelligent cause. Some aspects of the universe show positive evidence of having been designed by some form of intelligence. “We do not know how God created, what processes He used, for God used processes which are not now operating anywhere in the natural universe. This is why we refer to divine creation as Special Creation. We cannot discover by scientific investigation anything about the creative processes used by God.” (1)
All this is argumentative of a common point that counters evolution in that animals were created by God or someone rather than animals being a product of a common ancestor. Interestingly where Creationsim argues where we came from, Evolution argues how we got here. Therefore each argument is contrary to the other in that Creationism explains the reasons why life has existed and survived whereas Evolution explains how life has survived. This difference is significant to my project of exploring the freedoms and limitations of life and death, old and new because from a creationist viewpoint of change found in nature is part of God’s ongoing creation.
Young Earth Creationists believe that God created the Earth within the last 10,000 years literally as according to the way the Bible described this process. Most Young Earth Creationists believe the Universe is around as old as the Earth is.
Old Earth Creationists believe that the physical Universe was created by God, but the event of creationism described in the Book Of Genesis is to be taken metaphorially and figuratively.
Gap Creationism argues that life was created on a pre-existing Earth, “In the beginning God created the heaven and the earth.” (Original act of creation.)”And the earth was without form, and void; and darkness was upon the face of the deep. And the Spirit of God moved upon the face of the waters.” Therefore Gap Creationists can agree with the theory of evolution and with the ago of the Earth to an extent while holding a belief of Biblical Creationism as well. However
Day Age Creationism believes that because the Bible doesn’t specify how long a day is, but in the Bible it could be millions or billions of years. This view could also agree with scientific view regarding the
The Creation of the World – Genesis
1 In the beginning, God created the heavens and the earth.2 The earth was without form and void, and darkness was over the face of the deep. And the Spirit of God was hovering over the face of the waters.
3 And God said, “Let there be light,” and there was light.4 And God saw that the light was good. And God separated the light from the darkness.5 God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day.
6 And God said, “Let there be an expanse[a] in the midst of the waters, and let it separate the waters from the waters.”7 And God made[b] the expanse and separated the waters that were under the expanse from the waters that were above the expanse. And it was so.8 And God called the expanse Heaven.[c] And there was evening and there was morning, the second day.
9 And God said, “Let the waters under the heavens be gathered together into one place, and let the dry land appear.” And it was so.10 God called the dry land Earth,[d] and the waters that were gathered together he called Seas. And God saw that it was good.
11 And God said, “Let the earth sprout vegetation, plants[e] yielding seed, and fruit trees bearing fruit in which is their seed, each according to its kind, on the earth.” And it was so.12 The earth brought forth vegetation, plants yielding seed according to their own kinds, and trees bearing fruit in which is their seed, each according to its kind. And God saw that it was good.13 And there was evening and there was morning, the third day.
14 And God said, “Let there be lights in the expanse of the heavens to separate the day from the night. And let them be for signs and for seasons,[f] and for days and years,15 and let them be lights in the expanse of the heavens to give light upon the earth.” And it was so.16 And God made the two great lights—the greater light to rule the day and the lesser light to rule the night—and the stars.17 And God set them in the expanse of the heavens to give light on the earth,18 to rule over the day and over the night, and to separate the light from the darkness. And God saw that it was good.19 And there was evening and there was morning, the fourth day.
20 And God said, “Let the waters swarm with swarms of living creatures, and let birds[g] fly above the earth across the expanse of the heavens.”21 So God created the great sea creatures and every living creature that moves, with which the waters swarm, according to their kinds, and every winged bird according to its kind. And God saw that it was good.22 And God blessed them, saying, “Be fruitful and multiply and fill the waters in the seas, and let birds multiply on the earth.”23 And there was evening and there was morning, the fifth day.
24 And God said, “Let the earth bring forth living creatures according to their kinds—livestock and creeping things and beasts of the earth according to their kinds.” And it was so.25 And God made the beasts of the earth according to their kinds and the livestock according to their kinds, and everything that creeps on the ground according to its kind. And God saw that it was good.
26 Then God said, “Let us make man[h] in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.”
27 So God created man in his own image, in the image of God he created him; male and female he created them.
28 And God blessed them. And God said to them, “Be fruitful and multiply and fill the earth and subdue it, and have dominion over the fish of the sea and over the birds of the heavens and over every living thing that moves on the earth.”29 And God said, “Behold, I have given you every plant yielding seed that is on the face of all the earth, and every tree with seed in its fruit. You shall have them for food.30 And to every beast of the earth and to every bird of the heavens and to everything that creeps on the earth, everything that has the breath of life, I have given every green plant for food.” And it was so.31 And God saw everything that he had made, and behold, it was very good. And there was evening and there was morning, the sixth day.
To start exploring the change in nature I want to explore both the Theory of Evolution and the Theory of Creationism. This is because by looking at the constant change in nature, I want to trace back not only the starting point from where change in nature originated from but also looking at the arguments for why change occurs, leading us to question is there a destination we are heading towards as change is continuous before change in nature stops. What is the point of survival? Only to die again? As I explore the Theories of evolution and creationism and the role they play in the change found in nature, I want to consider these questions as animals try so hard to survive but to be replaced soon with the new. Therefore I believe in my images I take I want to capture the spirit and essence of why people animals believe life is so worth of living.
Charles Darwin was a British Biologist who proposed the Theory of evolution through natural selection. This theory composes of the idea that species change over time and give rise to new species whilst both sharing in one common ancestor. Natural selection allows for evolution to be possible because it bases its thesis on that resources in nature are limited and so competition for these resources will only be favorable to whichever species has the traits to survive. Reproduction will occur among these species and so the traits of past generations are adopted into the newer younger generations and increase in frequency. “…Natural selection acts only by taking advantage of slight successive variations; she can never take a great and sudden leap, but must advance by short and sure, though slow steps.” (1). This idea fascinates me greatly because I am interested in exploring the ways in which the passing of the old into the new but how the new adopts the foundations from the previous generation. This links to the idea of freedom in nature because the limits in one generations death is the freedom for the next generation in terms of its ability to survive. This idea of a common ancestor between inter species includes all forms of nature from birds, bananas, fishes and flowers for example and so I want to capture the variety of methods of survival traits between the species, plants, the land and sea and other natural beings. “If it could be demonstrated that any complex organ existed, which could not possibly have been formed by numerous, successive, slight modifications, my theory would absolutely break down.” (2)
The statement “survival of the fittest” is arguably misrepresentative of natural selection and what it composes of. Individuals don’t survive, it is the traits of an animal that is found in the genes of the population and is passed through the generations is what survives. The keys to survival are the traits that essentially survive. Natural selection focuses more on the genes that code for desirable traits or characteristics that enable and ensure survival rather than the actions of survival in itself. Molecular biologist Michael Denton wrote, “Although the tiniest bacterial cells are incredibly small… each is in effect a veritable micro-miniaturized factory containing thousands of exquisitely designed pieces of intricate molecular machinery… far more complicated than any machinery built by man .” [3] Darwin confessed, “To suppose that the eye with all its inimitable contrivances for adjusting the focus to different distances, for admitting different amounts of light, and for the correction of spherical and chromatic aberration, could have been formed by natural selection, seems, I freely confess, absurd in the highest degree.” [4]
Charles Darwin, “On the Origin of Species by Means of Natural Selection, or the Preservation of Favored Races in the Struggle for Life,” 1859, p. 162.
Ibid. p. 158.
Michael Denton, “Evolution: A Theory in Crisis,” 1986, p. 250.
Charles Darwin, “On the Origin of Species by Means of Natural Selection, or the Preservation of Favoured Races in the Struggle for Life,” 1859, p. 155.
Here is another series that I really like by Rinko Kawauchi. All of her images have a very similer atmosphere that goes with her idea and concept of the world. Her style is very spiritual and pure. This puplication by Rinko was done in 2005. This is how she describes the series in her own words, “A chick, horse, dog, turtle and human beings…Some creatures are to die soon after the birth; some creatures are born only to be eaten by the others to sustain their lives. All the living creatures are accepting their fate in the life no matter what it is. The mysterious and precious moments of the birth of various creatures. The blessings of being living. The babbles, vividness, beauty, joy, and the ephemeral existence of the lives in nature.” Within the series she is interpreting every day situations through the images that she creates.
I love the pure, softness that Rinko has created through her use of editing. She has managed to collect a wide variation of themes, frames and subjects within this series. She has captures portraits, landscapes, abstract images and lot of images of nature. Every images within the series tells its won story and has its own unique theme. When she combines all the images into a series they all have this flow because of the style she has created.
The series Iluminance was done in 2011. Kawauchi’s work has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns.
This series by Rinko is about memories and finding them again. Her use of pastel and soft colours is what drew me to her work. I lover style and unique perspectives that she has.
Her exhibition unifies the stories of people’s memories with works of photography — featuring her brand new works shot across forty different locations, all inspired by memories of the people of Kumamoto. By capturing the backdrops of these recollections, the experience brings life to memory within the photographer, and as such allows the viewer to feel the budding of memories of their own. Within time, flowing like a river, we find our memories embracing all of us. Through the scenes and places captured within these photographs, one finds this photo collection to be overflowing with refreshing moments — ones that open the doors to our own memory. Through opening a new frontier through Aso in Kumamoto as the backdrop of Kawauchi’s previous work “Ametsuchi,” we find her continuing her foresighted expression of what it means to feel “alive in the moment” throughout this newest work.
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