The camera in the fields, a practical guide to nature photography.

Mode of access: Internet.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Nature neighbors, embracing birds, plants, animals, minerals, in natural colors by color photography;

"John James Audubon edition."

Uncanny Nature

In Uncanny nature, Merri Randell and Chris Denaro use animation and surreal photography to make us rethink what we understand about nature.

The nature and origin of deep ocean clay crust from the Gulf of Guinea

Deep ocean sediments off the west coast of Africa exhibit a peculiar undrained strength profile in the form of a crust, albeit of exceptionally high water content, overlying normally consolidated clay. Hot-oil pipelines are installed into these crustal sediments, so their origins and characteristics are of great interest to pipeline designers. This paper provides evidence for the presence of burrowing invertebrates in crust material, and for the way sediment properties are modified through their creation of burrows, and through the deposition of faecal pellets. A variety of imaging techniques are used to make these connections, including photography, scanning electron microscopy and X-ray computer tomography. However, the essential investigative technology is simply the wet-sieving of natural cores, which reveals that up to 60% by dry mass of the crustal material can consist of smooth, highly regular, sand-sized capsules that have been identified as the faecal pellets of invertebrates such as polychaetes. Mechanical tests reveal that these pellets are quite robust under effective stresses of the order of 10 kPa, acting like sand grains within a matrix of fines. Their abundance correlates closely with the measured strength of the crust. While this can easily be accepted in the context of a pellet fraction as high as 60%, the question arises how a smaller proportion of pellets, such as 20%, is apparently able to enhance significantly the strength of a sediment that otherwise appears to be normally consolidated. A hypothesis is suggested based on the composition of the matrix of fines around the pellets. These appear to consist of agglomerates of clay platelets, which may be the result of the breakdown of pellets by other organisms. Their continued degradation at depths in excess of 1 m is taken to explain the progressive loss of crustal strength thereafter.

Second nature

 A joint exhibition of two separate shows under the one title.

Basics of digital photography in dermatology

Digital technology has promoted a great popularization of photographic registration in several medical areas. Because of its visual nature, dermatology has incorporated the benefits of this tool in clinical practice and research. This article aims to offer guidance to the dermatologist who is unfamiliar with this technology, providing basic understanding for the best use of digital photography equipment. ©2006 by Anais Brasileiros de Dermatologia.

With nature and a camera; being the adventures and observations of a field naturalist and an animal photographer,

Mode of access: Internet.

Printmare Against Nature

Nicky Coutts showed a work in the show "Printmare: Against Nature 1", reproducing a miniature storm scene from a Scottish five pound note and an essay titled "Animal Print Suicide" for the accompanying publication "Printmare Against Nature 2". Curated by Finlay Taylor, ‘Against Nature’ was an exhibition exploring conditions of current understandings of geography (or the geo-graphical), natural histories and landscapes. This exhibition concentrated on work that uses print, and the ways in which subtle innovations in this medium are used to investigate some of the complexities that arise when looking at nature in art. An associated publication has been published by Camberwell Press with essays by David Cross and Nicky Coutts, as well as page images by Bob Matthews, Denis Masi, Finlay Taylor, Kate Scrivener and Dick Jewell. Exhibiting artists included Franz Ackermann, Jasone Miranda Bilbao, Sarah Bodman, Ian Brown, Helen Chadwick, Paul Coldwell, Cornford and Cross, Nicky Coutts, Dunhill & O’Brien, Adam Gillam, Oona Grimes, Judith Goddard, Mark Harris, Katsushika Hokusai, Dan Howard-Birt, Susan Johanknecht, James Keith, Serena Korda, Michael Landy, Jo Love, Mike Marshall, Bob Matthews, Julian Opie, Tim O’Riley, Simon Patterson, David Rayson, Rebecca Salter, Kate Scrivener, Jo Stockham, and Herman de Vries.

The body in photography: an improvised performance with light

Considering the way light is integral to photography I draw on its paradoxical nature at sub atomic levels that describe how, when observed it changes. Taking a biocentric approach ; ‘A radical new view of reality: Life creates time, space, and the cosmos itself The farther we peer into space, the more we realize that the nature of the universe cannot be understood fully by inspecting spiral galaxies or watching distant supernovas. It lies deeper. It involves our very selves.’ (Lanza, 2009), I aim to clarify how embodied photographic practice can be explored through improvisational and performative discourse.

Tuning the valence of the cerium center in (Na)phthalocyaninato and porphyrinato cerium double-deckers by changing the nature of the tetrapyrrole ligands

A series of 7 cerium double-decker complexes with various tetrapyrrole ligands including porphyrinates, phthalocyaninates, and 2,3-naphthalocyaninates have been prepared by previously described methodologies and characterized with elemental analysis and a range of spectroscopic methods. The molecular structures of two heteroleptic \[(na)phthalocyaninato](porphyrinato) complexes have also been determined by X-ray diffraction analysis which exhibit a slightly distorted square antiprismatic geometry with two domed ligands. Having a range of tetrapyrrole ligands with very different electronic properties, these compounds have been systematically investigated for the effects of ligands on the valence of the cerium center. On the basis of the spectroscopic (UV−vis, near-IR, IR, and Raman), electrochemical, and structural data of these compounds and compared with those of the other rare earth(III) counterparts reported earlier, it has been found that the cerium center adopts an intermediate valence in these complexes. It assumes a virtually trivalent state in cerium bis(tetra-tert-butylnaphthalocyaninate) as a result of the two electron rich naphthalocyaninato ligands, which facilitate the delocalization of electron from the ligands to the metal center. For the rest of the cerium double-deckers, the cerium center is predominantly tetravalent. The valences (3.59−3.68) have been quantified according to their LIII-edge X-ray absorption near-edge structure (XANES) profiles.