Task Five / Identity / Zygmunt Bauman

Zygmunt Bauman is one of Europe's leading sociologists and Emeritus Professor at the University of Leeds (Social Europe Journal, 2014). The following is a paraphrase of Bauman's ideas surrounding identity, from an extract of his text of the same name. 

When identity loses it's "social anchors" (Bauman, 2004, p.24), that is to say the traditional ways of identifying oneself, such as gender, place of birth and class (to name a few), it is no longer preordained. For this reason, individuals seek new groups to which they can experience a sense of belonging and which thereby facilitate the creation of an identity. A personal example of this would be my participation in the Yorkshire Universities Naval Unit. 

Nowadays, the aforementioned groups tend primarily to be Internet communities, which are both easy to enter and abandon. As a result, Clifford Stoll states that we are "losing the ability to enter into spontaneous interaction with real people", while Charles Handy claims they create "an illusion of intimacy...a pre tense of community...[and] are not a valid substitute for...real conversation" (Bauman, 2004, p.25). If anything, these "electronically mediated" (Bauman, 2004, p.25) societies, make it more difficult to come to terms with one's self than it need be. 

Technology as a whole has seen the removal of moments of introspection and with the invention of the mobile phone we no longer have to interact with others in the street. In an era such as this, the unambiguous, "old-style stiff and non negotiable identities simply won't do" (Bauman, 2004, p25). The appetite for an identity is derived from the desire for security, which is an ambiguous feeling in itself. Therefore, in "our liquid modern times" (Bauman, 2004, p.29), that is to say where nothing is fixed and individuals can more or less mutate into anything they wish to, the "unencumbered individual is the popular hero" (Bauman, 2004, p.29).  

Bibliography

Social Europe Journal . 2014. Archives for Zygmunt Bauman. [ONLINE] Available at: http://www.social-europe.eu/author/zygmunt-bauman/. [Accessed 18 March 14].

Zygmunt Bauman, 2004. Identity: Coversations With Benedetto Vecchi. 1 Edition. Polity.

Task Four / Citizen Journalism / The Death of Muammar Gaddafi

The still refers to the death of Muammar Gaddafi on October 20th 2011 during the Battle of Sirte. Gaddafi was found hiding in a culvert west of Sirte and subsequently captured by the National Transitional Forces. Initially, the NTC claimed that Gaddafi died as a result of injures sustained during a firefight, when loyalist forces attempted to free him (Reuters, 2011). However, this still among others, depicts rebel fighters beating him before he was shot dead. 

My chosen image is a still from a video taken on the mobile phone of a rebel fighter (Mail Online, 2011). It features a profile view of Gaddafi covered in blood and grimacing in pain. Surrounding him are various freedom fighters who appear to be man handling him in a seemingly violent manner. 

The photographer, or more accurately, the videographer is a rebel fighter whose name, as far as I can tell, is unknown (Mail Online, 2011). 

The still was published on the Daily Mail website.

http://www.dailymail.co.uk/news/article-2051361/GADDAFI-DEAD-VIDEO-Dictator-begs-life-summary-execution.html 

Bibliography 

Mail Online. 2011. Who shot Gaddafi? New video shows blood pouring from dictator immediately before death but mystery surrounds coup de grace. [online] Available at: http://www.dailymail.co.uk/news/article-2051361/GADDAFI-DEAD-VIDEO-Dictator-begs-life-summary-execution.html [Accessed: 25 Mar 2014].

Al Jazeera English. 2011. Accounts emerge of Gaddafi's final moments. [online] Available at: http://www.aljazeera.com/news/africa/2011/10/20111020171225339666.html [Accessed: 25 Mar 2014].

Publicintelligence.net. 2011. Dead Gaddafi Photos | Public Intelligence. [online] Available at: http://publicintelligence.net/dead-gaddafi-photos/ [Accessed: 25 Mar 2014].

Reuters. 2011. Gaddafi killed in hometown, Libya eyes future. [online] Available at: http://www.reuters.com/article/2011/10/20/us-libya-idUSTRE79F1FK20111020 [Accessed: 25 Mar 2014].

Wikipedia. 2014. Death of Muammar Gaddafi. [online] Available at: http://en.wikipedia.org/wiki/Death_of_Muammar_Gaddafi [Accessed: 25 Mar 2014].

Task Three / The Gaze / Gender Ads

According to David Chandler, 'The Gaze' can take a number of key forms in visual media. The most palpable typology is based on who's doing the looking and is as follows:

- the spectator's gaze: the gaze of the viewer at an image of a person, object or animal.
- the intra-diegetic gaze: the gaze of one depicted person at another, object or animal within the visual media in question.
- the extra-diegetic address: the gaze of a person depicted within the visual media in question, looking out of the frame, as though it were directed towards the viewer.
- the look of the camera: the way the camera appears to look at the people, animals or objects depicted, otherwise knows as the gaze of the photographer or filmmaker.

Other forms include:

- the gaze of a bystander: the gaze of an individual in the initial viewers surroundings, catching the initial viewer in the act of viewing.
- the averted gaze: a depicted person's evident avoidance of the gaze of another, or of the camera lens or artist.

Finally, there are two more things to consider in relation to forms of 'The Gaze', and these are:

- the indirect address: represents an offer for the viewer in the sense that they are essentially an invisible onlooker and the depicted either doesn't know they're being looked at or act as though they don't.
- the direct address: represents a demand for the viewer (the object of the look) to enter into a relationship with the depicted, the type of which can be indicated via facial expression, among other things (Chandler, 1998).

http://genderads.com/page5/slideshow-18/

The featured advertisement is for Kellogg's Pep, a whole-wheat breakfast cereal introduced in 1923. Given that Pep became one of the first fortified cereals in 1930 (Wikipedia, 2014), it's likely that this particular advertisement is from that period. With the aforementioned forms in mind, this advertisement features an intra-diegetic gaze, that is to say that the depicted husband and wife are looking at one another. The spectator's gaze also comes into play, however it's an indirect address because the viewer's gaze isn't being returned.

Bibliography

Chandler, D. 1998. Notes on 'The Gaze'. [e-book] David Chandler. http://www.aber.ac.uk/media/Documents/gaze/gaze02.html [Accessed: 18 Mar 2014].

Wikipedia. 2014. Pep Cereal. [online] Available at: http://en.wikipedia.org/wiki/Pep_Cereal [Accessed: 18 Mar 2014].

Genderads.com. 2014. Bodies. [online] Available at: http://genderads.com/page5/slideshow-18/ [Accessed: 18 Mar 2014].

Task Two / Consumerism / Brian Ulrich

Brian Ulrich (born 1971) is an American photographer best known for his profound exploration of American consumer culture. The featured image, entitled Rialto Theatre (2009), is from the Dark Stores chapter of his decade long project, Copia.

http://notifbutwhen.com/wp-content/uploads/darkstores/dark-37.jpg

In etymological terms, the title of the project refers to "an abundance, ample supply, profusion, plenty" (Online Etymology Dictionary, 2014).  

As a whole, it not only examines "the everyday activities of shopping, but the economic, cultural, social, and political implications of commercialism and the roles we play in self-destruction, over consumption, and as targets of marketing and advertising". This is partially evidenced in the projects conception, as an initial response to the vehement environment generated by the events of 11/09/01. In the aftermath, the American government urged citizens to consume with the intention of boosting the US economy, thereby associating "consumerism with patriotism" (Brian Ulrich: Not If But When, 2014). Here is an extract from the transcript of President Bush's address to a joint session of Congress on the 20/09/01, in which the aforementioned action is implied: 

"Americans are asking, "What is expected of us?"

[...]

I ask your continued participation and confidence in the American economy. Terrorists attacked a symbol of American prosperity; they did not touch its source.

America is successful because of the hard work and creativity and enterprise of our people. These were the true strengths of our economy before September 11, and they are our strengths today." (CNN, 2001)

In the following YouTube video, President Bush explicitly encourages shopping. However, it's clear that two separate sections of speech have been cut together, thus making the source somewhat unreliable. This is due to the potential for changing the context in which Bush's words are heard. 

The Dark Stores chapter chronicles the impact of the financial and economic downfall of 2008. The crisis began in 2007, with the decisive fall of home prices in the USA and subsequently spread to the American financial sector, shortly followed by financial markets overseas. American losses included the investment banking industry in its entirety, the largest insurance company, two government chartered enterprises that facilitated mortgage lending, the biggest savings and loan, and two of the biggest commercial banks. For this reason, companies that generally relied on credit suffered and banks ceased to make the loans that the majority of businesses required to regulate cash flow, thereby making business implausible (Havemann, 2008). As a result, a number of locations photographed by Ulrich at the beginning of the project, were left empty, "laid barren in the hulking empty architecture of the big box, mall or store" (Brian Ulrich: Not If But When, 2014).

In reference to Rialto Theatre (2009), Capitalism is a Michael Moore documentary in which "the social costs of corporate interests pursuing profits at the expense of the public good" are examined (IMDb, 2009). The image and the documentary comment upon similar issues.    

With regards to display context, the images are for exhibition, and are to be viewed in their respective chapters (Retail, Thrift, & Dark Stores). When seen in this particular context, the audience is invited to consider "the broader ecology of consumer culture" and "the interconnectedness of consumers" through what they choose to buy and what they choose to leave behind (NCMA, 2013).

http://notifbutwhen.com/wp-content/uploads/darkstores/dark-51.jpg

Interestingly, at the similar time to the Copia show (Sept. 29th 2013- Jan. 5th 2014), the North Carolina Museum of Art put on an exhibition of Porsches, entitled Porsche by Design: Seducing Speed (Oct. 12th 2013- Feb. 2nd 2014). The comparison of the two shows heightens Ulrich's comment on consumerism. In one, there's witness to the appetence for the marketplace and its inevitable downfall (Copia). In the other, there's witness to the celebration of discernible consumption with little to no consequence (The Herald Sun, 2013).

http://ncdcr.gov/News/tabid/95/EntryId/145/Porsche-by-Design-Exhibition-Extended.aspx

                  
Bibliography

Online Etymology Dictionary. 2014. Online Etymology Dictionary. [ONLINE] Available at:http://www.etymonline.com/index.php?allowed_in_frame=0&search=copia&searchmode=none. [Accessed 18 March 14].

Brian Ulrich: Not If But When. 2014. Statement. [ONLINE] Available at:http://notifbutwhen.com/ulrich/statement/. [Accessed 18 March 14]

CNN. 2001. Transcript of President Bush's address. [ONLINE] Available at:http://edition.cnn.com/2001/US/09/20/gen.bush.transcript/. [Accessed 18 March 14].

AnarchyEnsues. (2012). bush: go out and shop. [Online Video]. 20 February. Available from:https://www.youtube.com/watch?v=fxk9PW83VCY. [Accessed: 18 March 2014].

Havemann, J, 2008. The Financial Crisis of 2008: Year In Review 2008. Encyclopaedia Britannica , [Online]. 1, 1. Available at: http://www.britannica.com/EBchecked/topic/1484264/The-Financial-Crisis-of-2008-Year-In-Review-2008#toc280409 [Accessed 18 March 2014].

IMDb. 2009. Capitalism: A Love Story. [ONLINE] Available at: http://www.imdb.com/title/tt1232207/. [Accessed 18 March 14].

NCMA. 2013. Brian Ulrich: Copia - Retail, Thrift, and Dark Stores, 2001-2011. [ONLINE] Available at:http://ncartmuseum.org/exhibitions/brian_ulrich_copiaretail_thrift_and_dark_stores_20012011/. [Accessed 18 March 14].

The Herald Sun. 2013. At NCMA - Art from a Consumer Society . [ONLINE] Available at:http://www.heraldsun.com/lifestyles/lifestylescolumnists/greenberg/x1388440215/At-NCMA-art-from-a-consumer-society. [Accessed 18 March 14].

Task One / Camera as a Gun / Crossfire / Christian Marclay

Christian Marclay is a visual artist and composer based in New York. His work incorporates a juxtaposition of photography, sound recording, video and film. Born in California (1955) and raised in Geneva, Switzerland, he studied sculpture at the Massachusetts College of Art (1977-1980) (The European Graduate School, 2002).

This particular piece of work is a video installation, entitled Crossfire. It consists of four large projection screens, playing an accelerated montage of gunfire, taken from American Hollywood films. The display context of the installation is as follows:

http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/

http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/

Each of the four screens has been positioned in such a way that the viewer is engulfed in a volatile physical space. Additionally, the scenes have been selected for their direct nature, in that all the guns are being fired towards the centre of the image, at the viewer. Through this, Marclay highlights the violent capabilities of the photographic art. 

The gun is an almost epochal image, with a constant presence in the media, whether it is in relation to local crime, war or its role as a narrative tool in films. While guns almost always allude to violence of some description, they can also be said to provide a false sense of security in the presence of a foreign threat. With Crossfire, Marclay flirts with the corresponding sense of fascination and dread (White Cube, 2007).  

As with much of Marclay's work, sound is an integral facet of the installation. The gun shots have been married together in a manner similar to that of notes on a musical score and despite being under perpetual strike, the sound rhythmically intensifies and diminishes throughout. Clément Chéroux, curator of the 2012 exhibition entitled Shoot! Existential Photography at The Photographers' Gallery, draws a similar comparison in the video below (The Photographers' Gallery Blog, 2012).      

In the 2007 (2 February - 10 March) exhibition of Crossfire, at the White Cube gallery in Hoxton Square (London), the video installation was accompanied by a series of prints. Marclay crafted the prints from a collection of onomatopoeic words he had ripped out of comic books. These words were then collaged, scanned and reprinted on a vast scale (White Cube, 2007).

http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/

http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/

http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/

Bibliography

The European Graduate School. 2002. Christian Marclay Biography. [ONLINE] Available at:http://www.egs.edu/faculty/christian-marclay/biography/.[Accessed 15 October 13].

The Photographers' Gallery Blog. 2012. Christian Marclay's Crossfire. [ONLINE] Available at:http://thephotographersgalleryblog.org.uk/2012/11/03/marclaycrossfire/. [Accessed 15 October 13].

White Cube . 2007. Christian Marclay Crossfire. [ONLINE] Available at:http://whitecube.com/exhibitions/christian_marclay_crossfire_hoxton_square_2007/. [Accessed 15 October 13].