Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Alastair on Wembley Arch lighting contrast
Rob Fisher on What does Thames "RIB" Experience mean?
Heathrow Transfers on Miguel aligns his message with his van
Brian Micklethwait on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Natalie Solent on Wooden Citroens and black baby dolls
Brian Micklethwait on Miguel aligns his message with his van
Natalie Solent on Miguel aligns his message with his van
Brian Micklethwait on Tate Modern is now fighting with its neighbours about privacy
Most recent entries
- Snake on a car
- A particularly good panoramic view of central London
- Coastline politics at Samizdata
- Wembley Arch lighting contrast
- A blown up airplane and a dodgy internet connection
- Rereading a Rebus
- Rod Green on Boys and Men at the time of Magna Carta
- More birds on a TV aerial
- Van – grey but very interesting
- Union Jacks having fun
- Another TV aerial
- Cruise plays along
- An enlarged Dinky Toy in Belgravia
- Pigeons on a TV aerial
Other Blogs I write for
6000 Miles from Civilisation
A Decent Muesli
Adventures in Capitalism
Alex Ross: The Rest Is Noise
Another Food Blog
Antoine Clarke's Election Watch
Armed and Dangerous
Art Of The State Blog
Boatang & Demetriou
Burning Our Money
Chase me ladies, I'm in the cavalry
China Law Blog
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Coffee & Complexity
Communities Dominate Brands
Confused of Calcutta
Conservative Party Reptile
Counting Cats in Zanzibar
Deleted by tomorrow
Don't Hold Your Breath
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Dr Robert Lefever
Englands Freedome, Souldiers Rights
Everything I Say is Right
Fat Man on a Keyboard
Ferraris for all
Freedom and Whisky
From The Barrel of a Gun
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Global Warming Politics
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Here Comes Everybody
Hit & Run
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Iain Dale's Diary
Jeffrey Archer's Official Blog
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Laissez Faire Books
Last of the Few
Libertarian Alliance: Blog
Liberty Dad - a World Without Dictators
Lib on the United Kingdom
Little Man, What Now?
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L'Ombre de l'Olivier
London Daily Photo
Metamagician and the Hellfire Club
Michael J. Totten's Middle East Journal
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My Boyfriend Is A Twat
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we make money not art
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Category archive: Social Media
I’ve visited the top of the Tate Modern Extension several times in recent weeks, so this story particularly entertained me:
Here’s the story:
Residents of the Rogers Stirk Harbour-designed Neo Bankside apartments have threatened legal action, after Tate Modern opened an observation deck that provides views into their private apartments.
The 360-degree rooftop viewing deck is one of the headline features of the Switch House – the 64.5-metre-high Tate Modern gallery extension by Herzog & de Meuron, which opened to the public in June.
But residents of the adjacent apartment complex have claimed that gallery visitors are using zoom-lens cameras and binoculars to peer inside their glass-walled homes and take photographs.
Having failed to reach a solution with Tate, the homeowners are now seeking legal action to regain their privacy.
I was particularly diverted by this bit:
So far the only change has been the addition of a sign asking Tate visitors to be more considerate.
Dezeen does not show any picture of this sign, but here, I can, because I photoed it several weeks ago:
I remember thinking at the time that this is almost contemptuously perfunctory. I’m not surprised that it failed to subdue the snoopers
I believe that, as London gets more and more interesting, and full of more and more intriguing Big Things, there will be more and more such viewing platforms like this one at Tate Modern. So, this problem of what you can see from such platforms that people don’t want you to see isn’t going to go away.
And the problem gets far worse when you consider that zoom lenses are only going to get ever more powerful. I often joke here that my camera has better eyesight than I do, and it’s true. But pretty soon, all cameras will have better eyesight than everyone.
It could be that about half of this particular viewing platform will be shut down, in which case, I need to make sure now that I have seen everything from that part of it that I can, before this happens.
I’d prefer the other idea, which is that these people living in glass houses should have one way mirrors installed, so they can see out but the rest of us can’t see in. But then, expect the internet to be awash with before/after photos.
First, this, which was the graphic on the front page of today’s pro-Remain Daily Mirror, and reproduced at Samizdata, which Natalie Solent reckons sends a somewhat ambiguous message. I agree. Because REMAIN is in the biggest letters, it looks like it could be saying that if you vote REMAIN, you’ll be sucked into a black hole. As you will, by the way, if enough people do this. This is indeed the fate that awaits us all, in the event of a REMAIN victory. One of the reasons why this graphic only works when misunderstood, is that when misunderstood, it becomes true!
The thing is, the EU is a lot nearer to being like a black hole than us leaving the EU is. For that message, they needed something more like an endless desert, or a huge tundra, or maybe some grim maritime scene, doom-laden as far as they eye can see.
The enormity of this decision is, I feel, appropriately reflected in the deranged graphics which occurred when this picture got loaded up. Samizdata usually centres pictures automatically, and also makes them smaller automatically, if they need to be smaller. That doesn’t seem to be happening at the moment.
In the comment thread on that posting, I mentioned that it was raining. Which it was, torrentially. But alas, it soon cleared up, thereby not dampening down the London (= Remain) vote as much it might have if it had rained with less violence but greater steadiness. I mean, they even managed to have a shortened game of cricket at Lord’s, after the rain had stopped.
And on the right there, Elizabeth Hurley, who will have voted Leave by now, that being the picture she Twittered yesterday along with her support for Leave. There she stands, wearing only high-healed sandals and a Union Jack cushion, or that’s how it looks. Thankyou Guido. She was probably right that this would get noticed, and would aid the cause she favours. But I bet the Leavers have been circulating their own interpretations of this rather odd picture. Is the picture recent, I wonder, or does it date from way back?
At least it is upbeat and optimistic in atmosphere, unlike that black hole.
Photoed by me yesterday, in Lower Marsh:
How soon before you will be able to take a smartphone photo of such a vehicle, and then, on your screen, press on the Twitter or Facebook squares, or on the website, and get there. Presumably, with that squiggly square, you can already do something like this.
That would certainly be an “intelligent advertising” improvement on what I have heard threats of, which is that adverts will change when they see you coming, to something they believe you are interested in. But I don’t believe that will happen any time soon, because how would you stop other people seeing what the advert thinks you are interested in? Leaving it up to you to investigate further, if you want to, will be much more civilised.
I love to write about digital photography, and have been tracking the selfie phenomenon since long before the mere word was invented, way back in the days when I referred to digital photographers as Billion Monkeys (which I don’t anymore (because some people thought I meant Muslims)). (But also way back in the days when I didn’t worry about showing the faces of strangers, the way I worry now.) And I also enjoy often public sculpture, especially of the more recent and less abstract sort.
So, I love this:
There have been complaints, of course, such as from all the commenters there at the Daily Mail. God forbid that vulgar people should find this vulgar statue so much fun. Sculpture is Art, and Art isn’t supposed to be amusing.
One of the Daily Mail’s other photos is of bloke photoing himself with his own mobile, in front of the selfie statue. But I prefer the more subtle response that consists of simply being photoed joining in, thus:
For once, the statueness, so to speak, of the statue, the fact that it is made of monochrome metal rather than realistically painted to look like real people, works really well, because it contrasts so nicely with the real people. It helps that it seems to be exactly life size.
One of the idiot grumpy commenters at the Daily Mail said that Sugar Land is a stupid name and they were obviously desperate for some attention, which they have never had until now. But wasn’t there a Goldie Hawn movie called The Sugarland Express, or some such thing? Yes there was. Early Spielberg. But, is Sugar Land the same as Sugarland?
According to a later Daily Mail report, it isn’t only their grumpy commentariat that objects to this statue. Could this be because a lot of people heard about this story partly through the Daily Mail, and those people being the sort that hears about things via the Daily Mail, immediately started objecting, because they object to everything. Whereas, the ones who liked it hadn’t heard about it so much.
I first found about the statue via Amusing Planet, so of course I was already self-identified as the sort who would be amused. It was just that the Daily Mail had better pictures.
Well, not quite a decade. I’ve been photoing photoers since well before this, but the first of these particular snaps was taken in July 2007. They illustrate that I have been concerning myself with the photoing of photoers while contriving, in one way or another, not to photo their faces, for a long while now. When I started taking photos of photoers, face recognition was a mere idea, used by implausibly attractive detectives on the telly but not yet a real thing in the real world. Now, with the social media and ubiquitous digital photography, faces (not just big faces but faces in crowds) can be dated and placed and identified, of everyone, and very soon by everyone.
I just picked out a few photos that I like (although, it soon became a bit more than a few). I like them because the pose is fun (6.2, 6.4), or because they’re strongly back-lit (1.1, 3.4), or because the screen is so clearly visible (6.1), or because the faces of photoers are hidden by bubbles (7.3), or by a coat (7.1), or by an orange bag with the Eiffel Tower on it (that one is the one snap of these that was not taken in London (that’s Paris, Feb 2012)), or because they’re photoing through some bars (in this case at the top of the Monument (1.3)), or because they were just too far away (in one of the pods of The Wheel and on the other side of the river (5.3)), or because they are simply facing the other way or holding their cameras (or their arms or their hands holding their cameras (1,2, 1.4, 4.1, 4.3, 5.1, 6.4, 7.2, 8.1, 8.2, 8.3, 8.4)) in front of their faces. My favourite face-blocking device here is the blue balloon (2.1) saying visit Mexico. The balloon goes very nicely with the Testicle (click and look on the blue square below if you are baffled). Happy times:
The most recent of these was taken when I was photoing that model of the City of London (8.4). Someone else was also.
After assembling these thirty two snaps, I did more browsing, and I soon realised that I could easily have found another thirty two more, and more, many more, of equal fun-ness.
Like with everything else, good photography comes from doing the same thing again and again.
As nudged by Simon Gibbs yesterday, I did indeed make my way to Trafalgar Square to check out Kenny and his Brexit chalk-proclamation.
The photos I sent to Libertarian Home yesterday evening were strictly utilitarian, to tell LH exactly what Kenny had written. Read the entire thing there.
Here, on the other hand, are some pictures which give more of an idea of how it looked, what the atmosphere was, and what Kenny himself looks like:
The atmosphere was low-key, actually. There were no scenes or arguments, although I did hear the occasional “not going to read it all because it says Out”, as people walked away. Others, however, did stop and read. Most significant, I would guess, were those with mobile phones who were, unlike me, maybe passing it on with twenty-first century immediacy. (I had to wait until I got home before I could send off my photos.)
I had to wait a while for Kenny to finish his efforts. I got there before 3pm, and it wasn’t until just after 5pm that he was done. And he started at 10am.
But it was worth the wait, and there was plenty else in Trafalgar Square to divert me, and to take photos of. But photos like that can wait. First things first, and that means Kenny.
Incoming from Darren (to whom thanks also for various recent comments):
Saw this White Van story and thought of you.
The artist, known only as Mr Konjusha is 22 and from east London.
His work has been spotted at various locations since he started drawing on the vehicles about three weeks ago. He said he had worked on 10 vans so far.
I think the whiteness of White Vans is all part of their appeal. If they are white and clean, they look really clean. If they are white a dirty, they look really dirty.
But if they are white and dirty, but if the dirt has been turned into art, what are they then?
Once again we have here an art form which is greatly encouraged by cheap digital photography. Would Mr Konjusha be so inclined to exert himself thus, were it not possible for his efforts to be quickly and easily recorded and equally easily shared with an admiring public?
Judging by what he says about how he was trying to put a smile on delivery drivers’ faces, he started doing this just for a bit of fun. But if he likes the fame and the attention he is now getting, he’ll perhaps continue for a while, more than he would have done in the previous century. Maybe, thanks to all the attention, his next job will be in advertising.
What’s the betting someone turns this dirty art into something that will actually get printed, nice and cleanly, onto a nice clean van?
I’ve included “cats and kittens” in the category list because the guy says that some of the faces he does look like hybrid human/lion faces.
Kudos to the Real Photographer who contrived to photo an airship in a way that has surely gone viral already:
The applications for the plane are broad, such as transporting cargo, performing surveillance operations, or simply to carrying super-rich tourists through the skies over London. The Guardian reports that two potential uses are monitoring refugees crossing the Mediterranean and acting as a mobile communications network at large sporting events.
A blimp. Can someone tell me how it differs from the blimps that we see already?
First customers, according to the Guardian, will be people like oil sheikhs. I suppose the dream is that the a sector of the more-money-than-sense super-rich will each want one, the way they now want a yacht.
A Japanese torpedo bomber that could use some zoom
Wicked Campers: Are they now going respectable?
Modernist sand castles at Amusing Planet (and at Mick Hartley’s)
Confirming an offer I made last night to Rob Fisher
Fantasy Vauxhall Bridge with lots of glass
Standing on boxes to interview Irfan
Alcoholic Architecture sign
Photoing and communicating the devastation of Tianjin
Heaven aka the Barley Mow
Reading Anton Howes again
Miniature photographic fakery
My digital photos on his TV
How the internet is cheering up Art
The death of email?
ASI Boat Trip 7: Other photographers
Big Things in the sunset
You need to have abseiled …
Tower Bridge before it got covered in stone
“In order to comply with Google’s regulations …”
Temporary art made of brightly dressed people
The text of my talk for Christian Michel last night on the impact of digital photography
Nowadays a picture is no longer worth a thousand words
Antoine Clarke on life and libertarianism in Britain in 1913
You can achieve everything you want if you’re unambitious enough
The Alex Singleton blog
On the pleasure of assuming the worst
A scaffolder likes Jeremy Clarkson
Quotes of the day
“No one has to know!”
WWWhat a great afternoon!!!
A photo taken of a taken photo of the photo being taken
The politics of humour in the USA and in Britain
Out to lunch with Alex Singleton
BrianMicklethwaitDotCom twitter of the day before the day before yesterday
Everyone who shows this picture needs to add that it is not Photoshopped
One man’s intellectual theft is another man’s marketing
The US Navy photos itself
Why David Hepworth is wrong about podcasting
Does Google now rule the world of computing?
Antoine Clarke on the Massachusetts election and the online effect
Graeme Swann - twitterer but no twit
Antoine Clarke talks about Facebook and Twitter – Guido and … Ian Geldard?
Tienanmen + Twitter = Teheran
Daniel Hannan and the shape of the media to come
It all depends on whether there is anything worth Twittering
Google and dongle
Floppy road bridge where the cars nearly get wet
PID strikes Guido
Flickring and Googling for the AMGEN bridge
Billion Monkey lady ticks four (make that five) boxes!
The moving bridges of Chicago
Flat viaduct and spiral bridge
Blogging – the end of the beginning
Democracy for sale – starting with football and beer
Facebook – not so social
Billion Monkey lady does … “Heinrich Photography”?
Socialising with the Social Media
Breaking the Left’s stranglehold on the moving image
Che Guevara was a murderer and your T-Shirt is not cool
New Moscow road bridge
The future of music
Other people’s photos (4): Kitten on man’s head
Blogging has arrived
Other people’s photos (3): Ice storm
What next for the virtuoso violinists? - Simon Hewitt Jones has some answers
London photos by Fabio
Perry de Havilland on the thinking behind Samizdata
Adriana Media Influencer: What do you do? (the mp3s of the book)