Jeff Wall Photography Philosophy

Jeff Wall Photography Philosophy The artist Jeff Wall has argued that there are two prominent myths about photography, the myth that it tells the truth, and the myth that it doesnt. Discuss Walls statement with reference to the work of any two photographers from the 20th Century. In the following essay I propose to discuss Jeff Walls philosophical statement of photography, the myth that it tells the truth and the myth that it doesnt in which Wall openly recognises the associated ambiguities of photographys systems of representation and perception. The apparent naturalism associated with the photographic medium draws a certain sense of the presence of inherent truths. However, the degree of photographic truth or indeed myth is much dependent upon the intentions of the photographer who instigates and captures the composition. The argument which Wall refers to is not a contemporary difficulty with the medium, as these debates have been circulating ever since photographys beginnings. One must however acknowledge that photographys difficulties with regard the perception of truth or myth have progressively developed as time has transgressed. This notion is in accordance with the greater availability of manipulative photographic technology which has allowed the artist greater control over any proposed outcome. Every image embodies a certain way of seeing which happens to coincides with the consciousness of mankinds individuality. Therefore it is entirely relevant to mention the importance of an awareness of the term semiotics which considers the interpretation of these visual systems which we each profess to. In order to understand the pertinence of Wal ls argument, I plan to explore and discuss the works of Wall himself in conjunction with the works of another American artist, Cindy Sherman. A key universal element of my argument will rest upon the acknowledgement of the incorporation of the multiple peoples who incur the work of photographer as it is these who create and communicate the notion of truth and myth. Whilst no definitive answer may be given regarding the statement which Wall proposes, I do however seek to trace the inner complexities which threaten the authenticity of the photographic movement. Debates concerning the notion of perception, myth and truth have been circulating ever since mankinds inception to the planet. One of the earliest documented records of this debate goes back to the 4th century BC, in which the philosopher Plato presented theories which objectify the then traditional Sophistic views of morality and reality. Plato concluded that both subjects originated from ones own objective ideals of absolute truth, of which only existed in total form in our minds and not in our conscious state of physical awareness. To put simply, Plato writes that an idealised level of truth could never be achieved in absolute terms in our daily lifestyle and that any proposed notion was strongly dependent on our own quality of self interests. From this reading I can comprehend that the notion of reality, truth and perception are all in fact manufactured perceptions based around our own terms of reference. I do view this reading as significant when related to the works of Wall and Sherman who coincidently share a communal categorisation of photographic theme, yet whose subjective visual understanding of a 20th century American society contrast greatly. Artistic intentions are developed or withdrawn in accordance with our own unique mental facets. Related to this matter, concepts of knowledge are also fiercely depend ent upon societal context and worldly experiences. Knowledge is an ever developing independent discipline as are the illusive notions of truth and myth. Theoretical research does not lead to such certainties. Usually its results are quite intangible. It leads to new ideas but ideas are uncertain and debatable. It leads to new points of view but this is not enough if we want hard and fast results. It is only if we are very lucky that far down the road theoretical research leads to what we have been looking for all along: understanding. (Greenstein, 1983, Pg.108) In order to fully comprehend the truths and mythologies of photography, it is necessary to acknowledge that each person including the viewer prescribes to a certain creative vision and that these views we profess to may not be in keeping with the genuine intentions of artist. Modernist understandings of the visual field fall under the study of semiotics which recognises that art functions as another communicative language yet does not present its meanings quiet as literally as with journalism. In the year 1978, Wall created a piece of breakthrough photography entitled The Destroyed Room which documents the disturbing repercussions following an unspeakable act of domestic violence. Jeff Wall, The Destroyed Room, 1978, Transparency in light box, 1590 x 2340 mm, National Gallery of Canada, Ottawa. The destroyed room is clearly that owning to a woman judging by its disassembled contents; strewn feminine clothes and elegant heels. Another prominent indicator of a feminine presence within the composition is the inclusion of a rather graceful and strangely intact porcelain dancer figurine upon a shaken wooden cabinet. A number of intentionally placed diagonal indicators lead our eye to this perverse female substitute which further indicates the notion that she is a universal symbol for the masked, unspoken and disturbing realities evident within the 20th century American home. But is this an accurate representation of 20th century society? Wall created the piece by recreating the theoretical elements of Delacroixs infamous work, Death of Sardanapalus which in effect offers a contemporary model of a historic reference. Eugà ¨ne Delacroix, Death of Sardanapalus, 1827, Oil on canvas. 392 x 496 cm, Musà ©e du Louvre, Paris. While strong feelings of misery, deep unhappiness and pain prevail in both these meticulously composed works it would be misleading to conclude that both works tell of the same truths. Delacroixs painted piece incorporates figurative subject matter in romanticised states of physical torment which contrast greatly to that of Walls graceful, serene figurine seeming to mask the emotional elements of violence by contrast. Wall appears to be making a mockery of Delacroixs curvilinear models through the inclusion of a cheap artificial piece confirming that Wall does not hold any desire to remit the same intentions of Delacroixs work alluding to the mythical existence of an idealised human form, implying a certain utopian view. It is also interesting to note that Walls work places a clear responsibility on the viewer to focus specifically on just one single victim of destruction as apposed to dividing our attention between a number of peoples as in the case of Delacroix. The absence of a real physical presence in Walls work is unsettling for the viewer warranting us to question the welfare of those involved moreover then Delacroixs painting. My feelings of empathy and concern are as a direct consequence of the medium of photography which further evokes the sense that this depiction of intimate violation could in fact be real to life due to the fact that many works of factual photo journalism are presented in a manner similar. I also believe that such a scene does not constitute the creation of a timely idealised masterpiece. This image is revealing of one persons view of a society but it would be a myth to suggest that it an agreeable truth for all else involved especially those who experience domestic abus e. As a viewer, I am aware that I am placing my objective thoughts on the work which may contrast with that of the practitioner and by this means I could unknowingly be creating a work of myth or indeed truth. Similarly I relate this analysis to Wall interpretation of Delacroixs work in that did Wall really take initial inspiration from the work of Delacroix or did Wall get caught up in the moment of physical chaotic creation which later seemingly related in theme to that of Delacroix? We may never know the answer but I take some comfort in my as Walls work seems an entirely abstract muted edition of the work of by contrast to his previous reworking of the work of Hokusai in A Sudden Gust of Wind (after Hokusai), In 1982, Wall created another thought provoking exposure entitled Mimic which again similar to that previously discussed, seeks to condense the negative misgivings of a contemporary culture within a single frame. Jeff Wall Mimic 1982, Transparency in light box, 1980 x 2286 mm, Ydessa Hendeles Art Foundation, Toronto. The image presented reconstructs an offensive racial gesturing witnessed by Wall between two men; a well turned out Chinese man and a roughly clad Caucasian man. Mimic presents an interesting representation of the bodily gestures which typically stereotype these nations. In the case of the Chinese man, his unobtrusive, self servient gesture presents the typical conservative gesture that I connote most to being of Eastern cultural origins. In contrast to this, the Caucasian mans middle fingered gesture presents him as being from an inflammatory type society with liberal outspoken values. Do these gestures pertain to be as accurate representations of the real and whole conditions of the cultures we reside within? No they are not truthful in this regard yet they are truthful in that they do provide a truthful momentary pictorial of an offensive gesture. I fear as a woman that I cannot abide by the social condition Wall has involved here as he positions his camera maintaining an overtly masculine presence with lessened thought given for the role of women within society. It appears as though the lady portrayed is being dragged along or perhaps slowing back deliberately denoting herself as an unwilling participant in this racial transaction as she also stares in a voyeuristic manner away from the confrontation. I would even go as far as commenting that Wall appears to connote that women share as much of an unrecognized role in 20th century American society as any other foreign emigrant would and that the Caucasian man rules over all regardless of social rank or occupation. The context in which a photograph is captured, presented thus examined constitutes a variety of iconic indexical signs. The resemblance to Mimic to that of street photography, cinematographic photography and even photo journalist photography through its successful combination of conceptual performance art qualities and also colloquial elements means that its authentic intentions are difficult to read. The museum reference given pushes us to regard the piece as an aesthetic high art object implying a enriched sense of credibility which forces us to consider its compositional qualities as well as formal aesthetic qualities in a more conscious manner which might not necessarily be the case regarding its possible inclusion in a mass consumed newspaper. Museum curators dictate the manner in which we experience interpret photography and one would most likely consider a different set of indexical signs if museum artworks were placed outside of its intended location. The placement of art may hinder its idea, yet it is the placement of art which determines the power of an artistic idea. The same argument is relevant regarding the notion of time yet it is again the power of the artists intention which will conquer all inhibitors. The meaning of a photographic image is built up by an interaction of such schemas or codes, which vary greatly in their degree of schematization. The image is therefore to be seen as a composite of signs, more to be compared with a complex sentence than a single word. Its meanings are multiple, concrete, and, most important, constructed. (Tagg, John, The Burden of Representation. Amherst: University of Massachusetts Press, 1988) The work of Cindy Sherman emphasises aspects of concurrent femininity which aspires to philosophise the changing role of the female identity in response to cultural expectations. Sherman herself manages to direct, model and capture her photographic intentions in much the same self autonomous process she seeks to explore through her works. Sherman brilliantly captures the metaphysicality of the female figure through her incorporation of diverse facial expressions, considered clothing choices and through the application of heavy make ups which in effect offer few clues to Shermans inner identity which she desires to be excluded from her works. Yet if she so heavily desires to be excluded from her works why does she use herself within her work why did she originally title her early works self portraits? I place ambiguity over Shermans desire to remain anonymous within her work I firmly believe her intentions to be a work of myth. Untitled Film Still (#96) depicts an outstretched Sherman lying rather suggestively across a domestic floor, exposing the myths which define a woman s expectations of sexual fantasy. The image promotes a certain sexual objectivity of the female body specifically through the considered placement of hand and tissue hand near her female organs. Yet I can connote a contradictory sense of imperfection, insecurity and hidden vulnerabilities through her blushed facial expression. Photographs cannot create a moral position, but they can reinforce one-and can help build a nascent one. (Sontag, 2001, Pg.9) Cindy Sherman Untitled Film Still (#96), 1981, Photograph, 60.8 x 121.8 cm, Museum of Modern Art, New York. Shermans choice of a birds eye view camera angle does not allow us to engage with the camouflaged societal location as the figure is zoomed in upon cropped forcing us to engage solely with the figure. The image is part of a series entitled centrefolds which were deliberately labelled in accordance with Shermans choice of publication layout which involves a two page spread in the middle of a magazine which sees Sherman as a sort of fetish for male readers. While the image has been labelled Untitled Film Still, it does not convey an obvious sense of the films actualities as the cropped field of view by the photographer has created an artificial sense of place in which we have no knowledge or clues of the films preceding proceeding moments. In a sense the image goes against the commonalities of film making as its lack of information forces us to narrate our own variation of the films intentions. Sherman as apposed to Wall chooses not to focus on any specific moment but rather the amal gamation of a number of common episodes which she has encountered through the media which in effect creates a work which may remain true to Sherman herself but seems false overtly clichà © for the viewer. It would be a grave mistake to label these images as obsolete due to their supposed level of artificiality as they do communicate a level of truth and more importantly a message which causes us to question learn from our own lives misgivings. None of the images I have discussed are inherently better than the next because of its determined or undetermined levels of truth myth. One could almost say that Wall works were more morally truthful as he seeks to reissue a lived moment yet the actors he positions could not possibly be feeling the raw emotions that the initial experience entailed. And the same is true of Shermans work in that she is just re-enacting another persons portrait. The photographers way of seeing is reflected in his choice of subject. Every image embodies a way of seeing; our perception or appreciation of an image depends upon our own way of seeing. (Berger, 1973, Pg.10)

Ectasy and its Effects :: essays research papers

Club Drugs: Ecstasy In developing prevention efforts that target young people, prevention managers must design strategies to counter the increasing use and widespread availability of the club drug Ecstasy. Known as â€Å"the party drug,† Ecstasy is both a stimulant and a hallucinogen, and its effects are potentially life-threatening. Because it is inexpensive and easily accessible, Ecstasy is gaining in popularity. As reported in the Monitoring the Future Study (National Institute on Drug Abuse [NIDA] 1999), 3.6 percent of 12th graders, 3.3 percent of 10th graders, and 1.8 percent of 8th graders said they had used the drug in 1998. From 1991 through 1998, use by college students increased from 0.9 percent to 2.4 percent and by adults, from 0.8 percent to 2.1 percent (NIDA, Facts About MDMA, 2000). What Is Ecstasy? Ecstasy is the street name for methylene-dioxymethamphetamine (MDMA), a chemical substance that combines methamphetamines with hallucinogenic properties. It is also known as X-TC, Adam, Clarity, and Lover’s Speed. Like all club drugs, Ecstasy is a combination of other illicit drugs. Because many different recipes are used to make Ecstasy, the risk of death and permanent brain damage are heightened when some substances are combined. It is available in tablet, capsule, or powder form; some manufacturers of the drug package it in capsules or generic tablets to imitate prescription drugs. The average cost is between $7 and $30 per pill. Among the variations of the drug is a new substance, Herbal Ecstasy, that is composed of ephedrine (ma huang) or pseudoephedrine and caffeine from the kola nut. Sold in tablet form, this drug may cause permanent brain damage and death (NIDA, Club Drugs: Just the Facts, 2000). What Side Effects Are Produced by Ecstasy? Ecstasy’s effects can last up to 24 hours. The drug produces immediate side effects, and some—such as confusion, depression, sleep problems, anxiety, and paranoia—can occur weeks after it is taken (NIDA, Community Drug Alert Bulletin on Club Drugs, 2000). Because Ecstasy alters serotonin levels in the brain, researchers have found that chronic use can lead to long-term or permanent damage to those parts of the brain critical to thought, memory, and pleasure (NIDA, Facts About MDMA, 2000).

Being a Nurse Is More Than a Job, It’s a Treasure Essay

To me, being a nurse is far more than a job or even a career. It’s an adventure, a continuous learning process that I embark on bravely each day, in search of life changing events and miracles. Touching the lives of others is a treasure chest overflowing with metaphorical gold, whether the help I provide is of great measure or remains unnoticed. The pride I hold in saying, â€Å"I’m going to be a nurse,† is immeasurable. Nursing is more than a profession of integrity and compassion, it is a privilege that measures out my values as a human being and the responsibilities granted to me with the precious gift of life. The first time I truly touched a person’s life, although the encounter was brief, was surprisingly fulfilling. A strong feeling of accomplishment and self-worth spread rapidly throughout my body and soul that no average â€Å"good deed† has ever accomplished. Nursing exceeds that average deed by far. After each experience, I’m left with an awestruck attitude of purpose, knowing that I am needed in someone’s life. By saying, â€Å"I’m going to be a nurse† each morning, I get the motivation needed to survive the awaited day ahead of me with a smile. In my opinion, nurses aren’t angels. They don’t go hand in hand with hearts and rainbows. Nursing is about providing care, yes, but that does not entail that nurses’ only purpose is to be a compassionate hand to hold on to. Nursing integrates science and care. Nurses take the knowledge they have gained from their education as well as their experience and apply it each and every day, all while, being there to comfort patients in their times of need, whether what is needed is an IV, pain medication, or an ear that will listen. Like it said in the documentary, a nurse takes advantage of opportunities, faces daily challenges, and most importantly in my eyes, is a powerful advocate for the patient. Watching this video enlightened me to the most significant responsibilities of a nurse. I’ve realized that a nurse is the liaison between the doctor and the patient. They ensure that the patient fully understands what is happening to them in their most vulnerable states. Nurses are responsible for patient education and for making sure the patient understands what the doctor tells them. Ardis Bush said just a few words that really clarified what being a nurse is  all about. She said that nurses treat the whole person, someone with feelings, someone who may cry – not just the diagnosis. In other words, doctors cure, but nurses heal. Ardis really helped me understand the difference between a doctor and a nurse. Nursing facilitates more meaningful patient interaction. I don’t want my patients to be just a statistic. I want to remember them and how strong they were emotionally when they weren’t strong physically. This video showed me that being a nurse will allow me to do just that.

Farewell Quotes That Mean More than Just Goodbye

Saying farewell isnt easy. While  change  is a part of life, partings can bring you to tears. How can you make a good farewell, and what wise quotes might you use? A Farewell Does Not Mark the End of Relationships When you bid farewell to a friend who is moving away, you dont have to feel as if your world is over. On the contrary, you can now explore your friendship in a new dimension. You have the opportunity to write long emails, filled with details of your daily life. You can wish each other Happy birthday through cards, presents, or even a surprise visit. When you meet long-distance friends, you experience such jubilation, that distance seems frivolous. Your long distant friend can be a reliable sounding board, who understands you well enough to help you out. Absence also makes the heart grow fonder. You will find that distant friends have more patience and fondness for you. When Farewells Bring an End to a Relationship Sometimes, farewells are not pleasant. When you fall out with your best friend, you may not part on friendly terms. The bitterness of the betrayal, the hurt of losing a loved one, and the sadness, engulfs you. You may feel disoriented and temporarily lose interest in many of your daily interactions with people. How to End a Relationship Without Hurting Yourself or Others Even though you may feel hurt or angry, it is best to part on a friendly note. There is no point shouldering the baggage of guilt and anger. If things have come to a head, and you know that reconciliation is impossible, end the relationship without bearing malice. Express your sadness, though not accusingly. Speak kindly, and part with a handshake. You never know how life takes a turn, and you are forced to seek the help of your estranged friend. If this happens, let the parting words of farewell be nice enough for your friend to oblige you. After Saying Farewell, Open Your Heart to New Friendships While a farewell may end one relationship, it opens the door to new ones. There is a silver lining to every gray cloud. Each broken relationship makes you stronger and wiser. You learn to deal with pain and heartbreak. You also learn to not take things too seriously. Friendships that sustain despite the distance, continue to grow stronger over the years. Bid Adieu to Dear Ones with Kind Words of Farewell If you find yourself unable to say farewell, use these farewell quotes to bid your dear ones goodbye. Remind your loved ones of the precious time you shared, and how you miss them. Shower your love with sweet words. Dont let your angst make your loved ones feel guilty about moving away. As Richard Bach rightly pointed out, If you love something, set it free; if it comes back its yours, if it doesnt, it never was. Farewell Quotes William Shenstone:  So sweetly she bade me adieu, I thought that she bade me return. Francois de la Rochefoucauld:  Absence diminishes little passions and increases great ones, as the wind extinguishes candles and fans a fire. Alan Alda:  The best things said come last. People will talk for hours saying nothing much and then linger at the door with words that come with a rush from the heart. Lazurus Long:  Great is the art of beginning, but greater is the art of ending. Jean Paul Richter:  Never part without loving words to think of during your absence. It may be that you will not meet again in this life. Alfred De Musset:  The return makes one love the farewell. Henry Louis Mencken:  When I mount the scaffold, at last, these will be my farewell words to the sheriff: Say what you will against me when I am gone but dont forget to add, in common justice, that I was never converted to anything. William Shakespeare:  Farewell! God knows when we shall meet again. Francis Thompson:  She went her unremembering way, / She went and left in me / The pang of all the partings gone, / And partings yet to be. Robert Pollok:  That bitter word, which closed all earthly friendships and finished every feast of love farewell! Lord Byron:  Farewell! A  word that must be, and hath been - A sound which makes us linger; - yet - farewell! Richard Bach:  Don’t be dismayed by goodbyes. A farewell is necessary before you can meet again. And meeting again after moments or lifetimes is certain for those who are friends. Anna Brownell Jameson:  As the presence of those we love is as a double life, so absence, in its anxious longing and sense of vacancy, is as a foretaste of death. A. A. Milne:  Promise me youll never forget me because if I thought you would Id never leave. Nicholas Sparks: The reason it hurts so much to separate is because our souls are connected. Maybe they always have been and will be. Maybe weve lived a thousand lives before this one and in each of them, weve found each other. And maybe each time, weve been forced apart for the same reasons. That means that this goodbye is both a goodbye for the past ten thousand years and a prelude to what will come. Jean Paul Richter:  Mans feelings are always purest and most glowing in the hour of meeting and of farewell. Jimi Hendrix:  The story of life is quicker than the blink of an eye, the story of love is hello, goodbye. Irish Blessing:  May the road rise up to meet you, may the wind be ever at your back. May the sun shine warm upon your face and the rain falls softly on your fields. And until we meet again, may God hold you in the hollow of his hand. Lord Byron:  Lets not unman each other - part at once; All farewells should be sudden, when forever, Else they make an eternity of moments, And clog the last sad sands of life with tears. John Dryden:  Love reckons hours for months, and days for years and every little absence is an age. Henry Fielding:  Distance of time and place generally cure what they seem to aggravate; and taking leave of our friends resembles taking leave of the world, of which it has been said, that it is not death, but dying, which is terrible. William Shakespeare:  Farewell, my sister, fare thee well. / The elements be kind to thee and make / Thy spirits all of comfort: fare thee well. Charles M. Schulz:  Why cant we get all the people together in the world that we really like and then just stay together? I guess that wouldnt work. Someone would leave. Someone always leaves. Then we would have to say good-bye. I hate good-byes. I know what I need. I need more hellos.