Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Katherine James on Cricinfo just said it didn't rain in Port Elizabeth on February 24th until after lunch
Alison Hendricks on Feline ephemera
A Cowardly Citizen on "In order to comply with Google's regulations ..."
Darren on The good done by the Apple Newton
Darren on Don't judge a new technology by its first stumbling steps
Michael Jennings on The good done by the Apple Newton
Brian Micklethwait on I think I may at last have found myself a sofa
Tatyana on I think I may at last have found myself a sofa
Katherine James on A new Morrisons is opening in Strutton Ground next Monday
Katherine James on 3D printed baby in the womb
Most recent entries
- Cricinfo just said it didn’t rain in Port Elizabeth on February 24th until after lunch
- Christopher Seaman on conducting
- Under Blackfriars Bridge
- Feline ephemera
- The good done by the Apple Newton
- 3D printed baby in the womb
- A new Morrisons is opening in Strutton Ground next Monday
- Ashes Lag recovery continues
- A Bitcoin vending machine and a Lego photographer (and a Lego Hawking)
- “In order to comply with Google’s regulations …”
- Blue wind
- Don’t judge a new technology by its first stumbling steps
- Me trying to tell Norman Foster and Richard Rogers apart
- I think I may at last have found myself a sofa
- The Met swoops on the Adams Family
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Category archive: Art
Mick Hartley links to some pictures of people forming human sculptures. He chooses his favourite. I choose this one:
One of the speculations I offered in my recent talk about the impact of digital photography was that digital photography has greatly encouraged this kind of temporary art.
Recently I heard tell of some kind of performance art event where cameras were forbidden. My googling skills did not enable me to track down any report of such an event, but I am guessing that one of their motives was to avoid the creation of an object, which someone might later buy, and then (perhaps for a great deal more money) sell. And I further guess that the “artists” in question were being deliberately contrary, as artists typically like to be these days, and chose to do the daft, counter-intuitive thing. The obvious response to temporary art is to take pictures of it, to make it permanent. So, said the artists, let’s forbid that, and be different.
But most people who do something “creative” want some kind of record or product of their efforts, something to show for it. Literally, some thing, to show. And the fact that it is now so totally easy to create such things, such records, and communicate them far and wide to friends and family, real and virtual, must surely increase the attraction of doing such temporary art. Art, that is to say, that in the past would have been temporary, but which can now be made permanent. See also: painting, sand castles, ice sculptures.
As to what these particular people are communicating with their body assemblages, what it speaks to me of is the futility of life in the world now, for young people, educated, unemployable, unneeded, probably in debt.
To the right of this image is to be found the following verbiage:
The reasons for why East London has seen the flowering of street art are manifold. The post-industrial legacy of Shoreditch’s crumbling low-rise warehouses, not only provides an environment in which the artists and designers can do their work, but East London’s proximity to the City of London provides an economic source of support for the artists and designers; and finally Shoreditch with its building sites, old dilapidated warehouses provides a canvas upon which those artists can display their work and increase their commercial value.
Mostly revolutionary chic to pay the rent, I’d say. Which, on balance, I quite like, because it gets up the noses of the real revolutionaries.
Plus it gets up the noses of the Art Twats by being understandable and entertaining without them having to explain what it means.
More East End street art here. In fact, lots more, if you scroll back through the archives there.
Definitely my favourite recent photography related photo:
Pity about the car.
That talk I gave at Christian Michel’s was really just a ragbag of different thoughts I have had over the last few years about digital photography and its effects and uses. One of the effects I speculated about - having already done so beforehand, here was that digital photography has encouraged temporary art, such as graffiti, ice sculpture, and the like, by rewarding it with a permanence and swankableness that would, pre digital photography, have been hard to contrive.
Yesterday, following one of David Thompson’s Friday Ephemera links to some bizarre hyper-realistic painted wood sculptures, I came across yet another variant on the theme of artistic temporariness, in the form of some particularly fine sandcastles, done by someone called Calvin Seibert:
I chose a sandcastle picture that included the sea in it, to emphasise the fact that this wonderful creation will very soon be swallowed up and turned back into beach. In King Canute’s time, that would have been that, but we now live in the post-Canute age. Waves can be stilled, and sandcastles can stand on beaches for ever.
Incoming from Simon Gibbs:
Near the mayors blob
And there was a photograph attached to this message, “sent from my Sony Xperia™ smartphone”:
On the left there, as we look at it, is the Mayor’s Blob that Simon mentions, near the Shard, and a building I am very familiar with, at any rate from the outside. In the middle, something new, which Simon knew I might be keen to check out. So, he photos it, and sends it to me.
Neither Simon nor I are asking anyone to think that this is a good photograph, in the technical sense. Don’t click on it, because it is quite big enough as is. Simon is probably a bit appalled that I am even showing it to anyone, even in the almost total privacy that is BrianMicklethwaitDotCom. But the photo suffices for its purpose, which is not to delight attenders at an art gallery (real or virtual), merely to provide me with information, should I be interested. (Although actually, this is the kind of thing you often do see in an art gallery nowadays, put there by an artist trying, as most artists must these days, to be contrary. “Good” photos are so twentieth century, my dears. Imagine the blurb, as written by this guy.)
I show this casual snap because it illustrates a typical use of digital photography, which is the communication of information, potentially in real time. Me being so hopelessly twentieth century in my uses of twenty-first century tech, I don’t know when he took this photo. It duly arrived on my desk, via my clunky old twentieth century desktop computer. Was it taken only seconds before Simon sent it to me? Perhaps he can tell us. But my point here is that he could have. And like him, I could have been as much on the move as he clearly was, while still as connected to the world as he was.
Here we see photography not as the nineteenth and then twentieth century mechanisation of oil painting, but as a twenty first century amplification of conversation. “Ooh, Brian might like to see that, snap. Hi Brian. Take a look at this.” Try doing that with a twentieth century phone. You could, in this case, after a fashion, but it wouldn’t be nearly so quick, definite and easy.
I am giving a talk on Monday evening at Christian Michel’s about The Impact of Digital Photography, and this is the kind of thing I will be talking about.
Digital photography was, or so I recall reading recently, invented by NASA, not so much to take photos, as to communicate photos, of other planets from robot cameras on space-ships, back to planet earth. Yes.
The logical mid-to-late twentieth century end-point of episodes like this, after you have thrown in a big dash of this sort of stuff, is (see above): telepathy.
I like this, from David Byrne:
I’m not saying that the artist doesn’t put their feelings into it, or any part of their biography, but that there’s a lot of constraints and considerations and templates that they work with – unconscious decisions or constraints put upon them that guide what they’re going to do.
Otherwise, why didn’t people in the 14th century start writing full-blown operas with giant orchestras and whatever? These things just weren’t available to them. Our imaginations are constrained by all these other things — which is a good thing. There’s kind of a process of evolution that goes on where the creative part of you adapts to whatever circumstances are available to you. And if you decide you want to make pop songs, or whatever, there’s a format. You can push the boundaries pretty far, but it’s still a recognized thing. And if you’re going to do something at Lincoln Center, there’s a pretty prescribed set of things you are going to do. You can push that form, but kind of from inside the genre. So I guess I’m saying that a lot of creative decisions are kind of made for us, and the trick is then working creatively within those constraints.
Happy is the artist whose inner inclinations happen to fit perfectly with the artistic forms he is offered, with audiences as they are - or as he can easily make them.
And, happy is the artist whose artistic wishes are in alignment with his artistic talents.
It is constantly said that “if Mozart had been alive today” he would have done this or that, and in all cases: a lot. But maybe he would have done nothing. Maybe he would have turned away from music-making nowadays in disgust and contempt, or maybe just frustration that it could not be what he wanted it to be. We can never know.
Sometimes mistakes caused by not holding the camera still can be interesting.
Today I took several photos (at Victoria Station, like the previous photo featured here) of the station electronic notice board saying where my train was about to go. Basically, I was taking notes to remind myself later of where I had been. But one of these photos went wrong. On the twiddly little screen on my camera it looked, on account of me having moved my camera vertically at the critical moment, approximately like as you see it, top right.
That one won’t last a second when I go through all these at home, I thought. If I was in the habit of deleting snaps on the fly, which I am not, I would have deleted that one straight away.
But now look at how it looked on my big screen, back home on my desk, this evening:
That’s the middle of the picture, to get how big it is when spread out sideways all over my big screen. Click on that bigger picture to get an even bigger version of the original.
I don’t think it’s just me. The smaller picture is much more legible. But the bigger picture is a lot more fun, on account of being less legible. It stops being annoyingly blurry writing, and instead becomes Art.
Photoed by me yesterday. On the left, the setting. On the right, the owl. It’s not a real owl. It doesn’t look like Art, i.e. something put there Officially. It’s too much like an actual owl to be Art. More like something really expensive you buy in a shop, like the one with these animals that I photoed a while back, in Croydon. The owl looks like it was put there by one of the station staff.
A little googling tells me that the owl is there to scare away pigeons.
So, they are Official, but they aren’t Art.
Edwin is a bad person
Stairs Thing outside St Paul’s
Feynman Diagrams on the Feynman van
So painters also used to “take” pictures
Hong Kong housing that looks like abstract art
A mannequin in Tachbrook Street sheds light on the nature of perception
Lunch at Gessler at Daquise
Wandering about afterwards
Art without Artists
Cheap hippos are hard to find
An afternoon in Croydon
BrianMicklethwaitDotCom internet headline of the day
Photographers at Eros and Art in the tube
A happy British Summer Time to all my readers
Hockey Stick art
A pill that turns sweat into perfume
Release Ai Weiwei
Gormley’s South Bank Men
Blue Men on a boring building in Borough High Street
Quota photo by someone else
Tiny Cardboard Box People Appear All Over Singapore
Spray can girl in Leake Street
A good bit about the future of art galleries and how to rescue good bits
Large areas the same colour on the first first day of spring
The right to photograph
Abstract satellite expressionism
The Min-Kyu Choi folding three point plug
Cat blogging and Gormley blogging
The Wheel through some Art
“Dying is a fulltime business. You haven’t time to do a lap of honour.”
More random links
A little drunk blogging
“… the idea is to remain ignorant of how dumb you look …”
Is the contemporary art bubble bursting?
P. J. O’Rourke confuses the average with the significant
If it’s not Art it can be rather fun
An abstract view of Kings Place
Lump art and dinner in sky
It only takes One Rich Lunatic
John Carey on Shakespeare and the high-art/ popular-art distinction
Keith Windschuttle on history - truth - Robert Hughes
Two adverts in the tube
Photos are better
Art is always a value judgement
Classic car thinness
Sounding like a different country
Girls these days flashing their cleavages it’s disgusting don’t know what the world’s coming to …
There’s a crack in the cracks at Tate Modern
Three proper photos … and three Billion Monkeys!!!
Photography is not dead
Deceiving the eyes of Paris
It only takes two idiots
Man may not sit on Art bed and be photoed by Billion Monkey lady friend!
Venus by the river
Tate Modern Extension
Wichita line (and colour) man
Skill and Post-Skill
The Million Dollar Homepage