Category Archives: Project 2. Image and text

Project 2, Exercise

I’ve settled on The Sick Rose by William Blake

The Sick Rose

O rose, thou art sick!
The invisible worm,
That flies in the night,
In the howling storm,

Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.

This poem evokes feelings of bleakness, tiredness, regret, guilt, shame, anger and stress. I struggled with expressing these feelings in pictures for quite some time as this blog shows. The key, I found was in Stephen Bull’s ‘Photography’, especially chapter 4.(1) I also looked carefully at Anne Turyn’s ‘Illustrated Memories’ (1983-1995). This is a fictional autobiography, an illustration of nostalgia. Her pictures evoke fragments of memory, sometimes blurred or half-remembered. (2) This led me to make these images.

CBW_6029
The secret is out.

CBW_6028
The horror at being discovered.

fingerprint
Incontrovertible evidence of guilt.

Going back through my archive I would like to include these images.

IMGP6843
The casual destruction of Naples. The poem sums up my feelings about this picture. Naples has been corrupted and become a joyless place.

Enigma machine
The Enigma Machine. The codebreakers at Bletchley Park were effectively the worm that found out the Enigma’s bed of crimson joy and destroyed it.

 

(1) Bull, S, (2009) Photography. Abingdon: Routledge

(2) http://anneturyn.com/illustrated-memories–1983-1995/label-_-Illustrated-Memories-box-label_a/

Thinking about Project 2, Exercise. 15-11-16

I’ve come down to a choice of two poems.

The Sick Rose

O rose, thou art sick!
The invisible worm,
That flies in the night,
In the howling storm,

Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.

William Blake

This strikes me as being a very self-sufficient poem. Blake’s verse gives us everything we need to understand the allegory and its psychology. The tension between words like ‘sick’ and ‘rose’, ‘invisible’ and ‘worm’, ‘crimson’ and ‘joy’, ‘dark’ and ‘love’, ‘life’ and ‘destroy’, forces the meaning beyond the surface into sexual anxiety and guilt. Something that should have been lovely has been vitiated and effectively invalidated by the loss of secrecy.

I’m thinking of images of broken things, partly open doors, rotten fruit, a messy bed (maybe), left over food, torn photographs, faded old photos.

IMGP7916IMGP3451IMGP5242

The Rose that Grew from Concrete

Did you hear about the rose that grew
from a crack in the concrete?
Proving nature’s law is wrong
it learned to walk without having feet.
Funny it seems, but by keeping its dreams,
it learned to breathe fresh air.
Long live the rose that grew from concrete
when no one else ever cared.

Tupac Shakur

This is a poem of hope, of triumph over adversity. The concrete is hard, unmalleable, unchanging and permanent. It is designed to resist change yet it is altered by a fault big enough for a seed to be introduced. The poet says this proves nature’s law is wrong. Which law of nature is wrong, not just mistaken, but wrong, the opposite of right?Is it the law that says the natural state of concrete is to be hard and barren and perhaps forbidding, or is it the law that says roses belong in gardens and soft soil? Is Nature the one that cared, defying the man made nature of the uncaring concrete?

I’m thinking of images of bare ground, weeds growing in unexpected places, crutches, walking sticks, wheel chairs, packets of pills, bottles of medicine.

IMGP4548DSCF0186IMGP4609

Thinking about Project 2 Exercise 12-11-2016

I’ve been thinking about Project 2 Exercise and been reading a lot of poetry. At first I was looking at poems which prompted a visual response. I think this was a mistake. I began instead to look for poems with strong concepts that appealed to my imagination. My choice has come down to these six.

1. He Wishes for the Cloths of Heaven

Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

W.B. Yeats

2. The Sick Rose

O rose, thou art sick!
The invisible worm,
That flies in the night,
In the howling storm,

Has found out thy bed
Of crimson joy,
And his dark secret love
Does thy life destroy.

William Blake

3. The Clod and the Pebble

‘Love seeketh not itself to please,
Nor for itself hath any care,
But for another gives its ease,
And builds a heaven in hell’s despair.’

So sung a little clod of clay,
Trodden with the cattle’s feet,
But a pebble of the brook
Warbled out these metres meet:

‘Love seeketh only Self to please,
To bind another to its delight,
Joys in another’s loss of ease,
And builds a hell in heaven’s despite.’

William Blake

4. Ozymandias

I met a traveller from an antique land
Who said: “Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear:
`My name is Ozymandias, King of Kings:
Look on my works, ye mighty, and despair!’
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away”.

Percy Bysshe Shelley

5. The Rose that Grew from Concrete

Did you hear about the rose that grew
from a crack in the concrete?
Proving nature’s law is wrong
it learned to walk without having feet.
Funny it seems, but by keeping its dreams,
it learned to breathe fresh air.
Long live the rose that grew from concrete
when no one else ever cared.

Tupac Shakur

6. Shadows

“All shadows of clouds the sun cannot hide
like the moon cannot stop oceanic tide;
but a hidden star can still be smiling
at night’s black spell on darkness, beguiling”

Munia Khan

Each poem contains a sense of bleakness … “But I, being poor, have only my dreams”.
”his dark secret love does thy life destroy”, “builds a hell in heaven’s despite”, “the lone and level sands”, “no one else ever cared”, “night’s black spell”.

Each one contains a sensual image … “you tread on my dreams”, “thy bed of crimson joy”, “trodden with the cattle’s feet”, “the hand that mocked them”, “it learned to walk without having feet”, “a hidden star can still be smiling”.

He wishes for the Cloths of Heaven is a poem about poetry … “Had I the heavens’ embroidered cloths”, as is The Rose that Grew from Concrete.

Each one contains powerful visual images but I want my photographs to respond to the concepts rather than taking a literal approach. At the moment I can imagine images for The Sick Rose and the Rose that Grew from Concrete without using a picture of a rose or concrete. These images from my archive spring to mind but I will make new images for this exercise when I make my final choice of poem.

cbw_4913

I made this image of a Kindle and glasses to concentrate on the idea of poems being read and then considered. The Kindle stands in for the act of reading and the glasses for the time after reading. The blue cast is to suggest something artificial and contrived. It distances my feelings from those I read into the poems. The poets’ thoughts are not mine. I don’t want these authors, in Roland Barthe’s terms, to be dead. I don’t want to impose myself on their thoughts but to try to see and understand what they saw and thought.cbw_6014

kindle-and-glasses contact sheet

Sophie Calle and Sophy Rickett–Research point

How do these two pieces of work reflect post-modern approaches to narrative?

Sophy Rickett’s Objects in the Field uses obsolete astrophysical research photos accompanied by a reported conversation with a retired astrophysicist, Dr. Willstrop. The photos are useless now because they are not calibrated to modern standards.

Sophie Calle’s Take Care of Yourself – a number of experts in various fields are asked to respond according to their particular area of expertise to a letter from her boyfriend dumping her. The grammarian talks about grammar and so on.

Post-modern narrative is not necessarily linear. It doesn’t even have to have its own internal logic. It can be a stream of consciousness or random statement linked by a common reference. it can be a simple evocation of a scene or emotion. It can be designed to engender an emotional or other response.It can avoid a resolution or it may, like Laurence Sterne’s Tristram Shandy , enjoy playing with language and typography. It may be a free association of ideas e.g. Virginia Woolfe The Waves.
I took this photograph to illustrate the quotation from The Waves.

_IGP3016a

 

How much better is silence; the coffee cup on the table. How much better to sit by myself like the solitary sea-bird that opens its wings on the stake. Let me sit here forever with bare things, this coffee cup, this knife, this fork, things in themselves, myself being myself.”

 

 

Neither Rickett’s nor Calle’s work has a story arc. They do not even concatenate utterances. Their work is bound together by the subject matter and the method of dealing with it. The effect is to build an idea by giving numerous examples until the weight of ‘evidence’ leads the witness/viewer to a conclusion. If the arguments were concatenated one broken link would nullify the conclusion. With Calle and Rickett the more examples given the stronger the argument seems to become. This kind of argument is based on a fallacy, the reductio ad nauseam.

Image and text. Exercise 1

Cut some pictures from a newspaper and write your own captions.

  • How do the words you put next to the image contextualise/re-contextualise it?
  • How many meanings can you give the same picture?

recipe_000017

This is an example of ‘relay’, that is, the words and the image have equal value. They are completely interdependent.
Other (less successful) captions could be:-

“You don’t scare me!”

“Davies or kids – who scares you most?”

 

 

MourinhoThe same cannot be said of this photo of Jose Mourinho. It’s not clear which of the three people is the subject of the shot. The text ‘anchors’ the meaning and fixes Mourinho in the frame.
Other tags could be:-

“Mourinho puts on his game face.”

“Another photobomb.”

 

The Jungle

The text and accompanying story fix the meaning of the image.
Other tags could be:-

“Publicity shot for a film called ‘Postapocalyptic”

“Overcooked in PhotoShop.”

In each instance, the text gives the image a context wherein its meaning can be found. Sometimes the meaning of an image can be removed almost completely from its original context. Man Ray’s Glass Tears, for example appeared with this text.
Elton John

The Man Ray image is interesting in its own right but since it’s used in a magazine filled with adverts for expensive things to buy it’s important for the blurb to mention its price and who owns it now. The image has been repositioned in a social, financial and cultural context. Its artistic merit has all but disappeared. It has become an example of an image which “is felt to be weak in respect of meaning” (1)

(1) Barthes, R, Rhetoric of the Image (1964)