I recently discovered Ben Crosser.
Ben Crosser focuses on the cultural, social, and political effects of software.
He asks. What does it mean for human creativity when a computational system can paint its own artworks? How is an interface that foregrounds our friend count changing our conceptions of friendship? Who benefits when a software system can intuit how we feel? To examine questions like these, he constructs interactive experiences, machines, and systems that make the familiar unfamiliar, revealing the ways that software prescribes our behaviour and thus, how it changes who we are.
He has created a social network that works the opposite way to most. You are limited to 100 posts, there are no date and time-stamps, and no reason to connect or expand your network. As an interactive piece it is interesting, you can reply to people if you want. Replies don’t count toward your message limit.
Today was the beginning of the term break for me as I only work 3 days a week now. I managed to procrastinate online all morning. I fitted in some quality time in my darkroom after lunch though. I have a solo exhibition application in the works. So if I’m accepted into the space I want to have plenty of time to make the best quality prints I can. The negatives span more than 30 years of shooting film and are mostly images that I have liked for and of themselves. But may not have fitted in with other series and bodies of work I exhibited in the past.
It’s a bit weird working with such old negatives. I started in my first year of University with a Mamiya medium format TLR camera. I used Microdol-X as my developer in those days. I now use a Hasselblad as my main medium format camera. Recently switched to Xtol too, a commercial developer also by Kodak. Prior to switching I had used a home made developer called D25. I’m still using the same film though, Kodak T-max 400.
Papers too, have changed radically since 1989 when I was at University. Now most papers are multi-contrast as opposed to graded. This is actually a good thing as I feel I can eke more out of a negative using the 2 extreme filters, 00 and 5.
I hope then to better match my expectations of an image using the split filter printing system, and a variety of home made paper developers. Compared to my University days, when a neg may have been put aside due to it not being able to printed well on a single grade of paper.
The differences between cameras and eras seems noticeable. The developer not so much. I switched film developers mainly for environmental reasons but technique also played a part in that decision too. I touched base with an old teacher a couple of summers back and he suggested the change.
The weird part is as I’m not really working to a fixed time frame, I have all the time in the world to muck around as I make each print. Some are just “falling” out of the enlarger, others are requiring many test strips and prints. I plan on exhibiting about 14 to 18 prints. Pinned directly to the walls of the gallery.
I have been searching for alternatives to the big gatekeepers of the internet of late over the last 2 or 3 years. Driven mainly by Facebook’s abuses of data. I have found a number of services, applications and tools that are operating outside the walled gardens of Facebook, Amazon, Apple, and Google.
Some services replace platforms like Instagram, others are hybrids of Twitter and Instagram and Facebook, and others are a retro step back to the early days of the internet, where text reigned supreme. Most are run by volunteers who have the tech skills to run and organise and moderate these things.
These services are for instagram pixelfed.social, [free open source] Glass [glass.photo] a subscription model. Mastadon is a Facebook replacement, the platform runs “instances” I am connected to two. AusGalm.space you will need to “apply” to join and mastodon.social. Joining is simple easy and quick. [I’m hoping to merge the two soon]. And lastly discord. This is a social space where people with common interests congregate. The groups are called servers, currently I participate in several from my own specially created one for flickr users to others much more general in scope, like iPhone photography and online music listening.
Lastly a new internet protocol has been developed, this is super geeky and requires a special browser to read, I’m using Larange. It also requires access to a server that is configured to allow it to run if you want to write your own pages. The protocol is called gemini . This protocol is unlikely to ever take off the way the internet did in the mid to late 1990s, but for me this is fine. It is, I hope, going to be a space to build my writing skills. As it is text and hyperlink only protocol. At least it’s bit more user friendly than the gopher protocol.
Gemini is a new application-level internet protocol for the distribution of arbitrary files, with some special consideration for serving a lightweight hypertext format which facilitates linking between files. You may think of Gemini as “the web, stripped right back to its essence” or as “Gopher, souped up and modernised just a little”, depending upon your perspective (the latter view is probably more accurate). Gemini may be of interest to people who are:
Opposed to the web’s ubiquitous tracking of users Tired of nagging pop-ups, obnoxious adverts, autoplaying videos and other misfeatures of the modern web Interested in low-power computing and/or low-speed networks, either by choice or necessity Gemini is intended to be simple, but not necessarily as simple as possible. Instead, the design strives to maximise its “power to weight ratio”, while keeping its weight within acceptable limits. Gemini is also intended to be very privacy conscious, to be difficult to extend in the future (so that it will *stay* simple and privacy conscious), and to be compatible with a “do it yourself” computing ethos. For this last reason, Gemini is technically very familiar and conservative: it’s a protocol in the traditional client-server request-response paradigm, and is built on mature, standardised technology like URIs, MIME media types, and TLS.
I have applied to the Sunshine Community Arts Space for another solo show in 2022.
Here are some images that formed part of the application and potentially part of the exhibition.
The images form part of a larger archive and at one level are simply images I’ve always connected to, but not actually printed to exhibit in the past.
Like the last solo show in 2019, these prints will be small about 18 cms square. However this time I am not framing, just pinning, to the wall.
The work comes for a place that I have been situated in since the beginning of the pandemic. Relying mainly on my archives and my darkroom. I initially set out to make a small artist book, using contact printed negs. This process lead me to realise I could make a small solo show or two from the images I collated. All up I looked at over 539 medium format contact sheets from 1988 to 2021. The first edit for the book culled this down to about 80 images. This was too many for the book I had planned. The excess images may then make up several solo exhibitions.
Melbourne was recently placed into its 5th lockdown since the pandemic began. I found this one more taxing the previous ones. By about the 7th day I decided I needed to get outdoors. I decided to walk aimlessly. Walking aimlessly is harder than it sounds.
So I decided to walk into the park adjacent to our house. Then once on the other side of the park wander in the direction of some incongruous land. This land runs between a rail siding and the medium to light industry either side of it. This gives me access to places that are inaccessible any other way. Carrying a large camera (and tripod) in this instance may not have been permitted by the lockdown rules I suspect. So I carried my small Canon point and shoot as well as my iPhone 12.
I walked for about one and a half hours. I took approximately 6639 steps. Sadly I forgot to run my mapping software as I walked, so I’m using other software to trace my route. In this instance Aperture. I took very few iPhone pictures it seems, anyway. I manually added these images to Aperture’s map feature.
All up I took 189 pictures. Below is a small selection of them in chronological order.
The whole experience was definitely one of heightened senses, visual, aural and olfactory. This in my mind made the journey one that was entirely psychogeographic, even if only partially aimless.
Some changes are occurring in this area also. I have walked this area on and off since moving to Sunshine in 2000. When I next walk it, who knows? The ninth picture is about to undergo a major infrastructure project. This is one of the reasons I walked there. I shall return and use a film camera soon hopefully.
Much 21st-century architectural discourse has orbited around two dominant paradigms of urbanism: on the one hand, the rapidly growing city-region, exemplified by the Pearl River Delta; on the other, the shrinking post-industrial city, exemplified by Detroit.
My current Photobook’s silver gelatin contact prints are taking a bit longer to print than I initially imagined. After about 20 plus hours I’m at the half way mark. Just over 20 prints.
In the interim, between dealing with other aspects of my life, I have been considering the text component of the book. These ideas sometimes come to me while in my darkroom.
So using a pencil, I scrawl them down in a notebook that lives beside my enlarger. After I finish up, I digitise them and then add them to my notes both Apple note and Voodoo Pad . I then digitally transcribe them to make searching them easier later. Some ideas include the idea of the flaneur and by extension ‘The Situationists’ and the idea of the derive. Society of the spectacle by Guy Debord is proving especially fruitful.
I actually ran out of silver gelatin paper and had to wait till the shops opened to buy some more. Adding another delay.