notes.husk.org. scribblings by Paul Mison.

2014-02-10

post/76264248855

photo 23:11:19
NSA headquarters, photographed by Trevor Paglen:

Since June 2013, article after article about the NSA has been illustrated with a single image supplied by the agency, a photograph of its Fort Meade headquarters that appears to date from the 1970s.
The photographs – which are being published for the first time – show three of the largest agencies in the U.S. intelligence community. The scale of their operations was hidden from the public until August 2013, when their classified budget requests were revealed in documents provided by Snowden. Three months later, I rented a helicopter and shot nighttime images of the NSA’s headquarters.

NSA headquarters, photographed by Trevor Paglen:

Since June 2013, article after article about the NSA has been illustrated with a single image supplied by the agency, a photograph of its Fort Meade headquarters that appears to date from the 1970s.

The photographs – which are being published for the first time – show three of the largest agencies in the U.S. intelligence community. The scale of their operations was hidden from the public until August 2013, when their classified budget requests were revealed in documents provided by Snowden. Three months later, I rented a helicopter and shot nighttime images of the NSA’s headquarters.

2014-01-27

post/74759050548

quote 21:34:52
“ I take photographs of museum labels to prompt my memory later, sometimes years later, about what I’ve seen in the museum.  Firstly I take a photograph of the museum object(s) and then immediately afterward a photograph of the accompanying label. ”

lifeasdaddy, in Photographing museum labels: The retrospective user experience, responding to Aaron Cope’s questions about labels that are part of his blog post for the Cooper Hewitt on a way of scanning them in.

I thought I’d chip in a short commentary. Like lifeasdaddy, I definitely take photos of labels after/before photographing things, so that I can credit the artists. However, there are a couple of other uses.

Sometimes I photograph the label but not the art. That can be because I can’t capture the work, or I just want to recall it. Usually that means I want to look it up later and maybe post it to Tumblr or something like that. I often don’t get around to it, but at least it’s there.

Finally, in those galleries that are camera-hostile, I take notes of artist or work names, again in the hope I can look them up later. If I knew how to read the accession code, assuming it was on the label, I could save myself a lot of writing by looking up things later, but generally I tend to use longhand. Unfortunately, such notes tend to just form a slush that sits around in my phone and online, barely ever to be referred to.

That said, sometimes I do get around to it.

2014-01-20

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photos 22:45:44

Look Magazine’s cover story on computer dating, February 1966.

You’ve got to love that modernist san-serif headline type.

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photo 20:33:52
David Hurn / Magnum Photos:
GB. Sculpture Exposed. Geodesic domes on the North Yorkshire Moors. “Radomes” of RAF Fylingdales. Monuments to the cold war. Inside each dome is a 84ft radar dish which from 1964 to 1992 kept an eye on intercontinental ballistic misiles. 1993.

David Hurn / Magnum Photos:

GB. Sculpture Exposed. Geodesic domes on the North Yorkshire Moors. “Radomes” of RAF Fylingdales. Monuments to the cold war. Inside each dome is a 84ft radar dish which from 1964 to 1992 kept an eye on intercontinental ballistic misiles. 1993.

post/73923973568

photos 06:27:15

c86:

Triple whammy of David Lynch, William S. Burroughs and Andy Warhol exhibitions now on at The Photographers’ Gallery

Unknown Photographer - Burroughs in the Villa Mouniria Garden, Tangier
David Lynch - Untitled (England), c. late 1980s / early 1990s
Andy Warhol - Young Man Holding a Glass 1976-1987

Reblogged for the Londoners (and also, pylons!). I’d love to visit.

2013-12-20

post/70568757226

quote 07:25:21
“ Fletcher Previn, 39, is his mother’s protector. He built his first computer at age 13, and he painstakingly Photoshopped Woody Allen out of every single family photo and edited him out of family videos so that none of them would ever have to see him again. “We can look at them and be reminded of the good and not be reminded of the bad,” he told me. ”

2013-12-04

post/69000846015

photo 20:14:01
Mars Station (via sparkyrobot):

Dividing lines Part 6 - 1/3
Shot with a Infrared converted digital Camera, with a 720nm infrared pass filter.
"It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” - Louis Sullivan

IF pylon THEN reblog

Mars Station (via sparkyrobot):

Dividing lines Part 6 - 1/3

Shot with a Infrared converted digital Camera, with a 720nm infrared pass filter.

"It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” Louis Sullivan

IF pylon THEN reblog

2013-11-27

post/68279804775

quote 18:23:00
“ It’s annoying that Aperture owns all of my photos, and there’s no IMAP-like protocol for keeping my photos in the cloud forever, being able to hop between applications and code my own custom views and actions against an API. ”

Matt Webb for The Setup (via).

I would also like this. Sadly, the way the industry’s going, and given the failure of EverPix, I don’t think it’s likely to show up as a commercial product. Shame.

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photo 00:40:25
ABC News, Migration Formations of a Different Medium (via slavin):

At first, the works of Alain Delorme capture the magic of the first fleeting beauty of a flock of birds, a murmuration. However, this initial charm soon vanishes when the viewer takes a closer look, notices the clever deception, and discovers what is really behind the graceful flocks: thousands of plastic bags, meticulously arranged by the artist.

ABC News, Migration Formations of a Different Medium (via slavin):

At first, the works of Alain Delorme capture the magic of the first fleeting beauty of a flock of birds, a murmuration. However, this initial charm soon vanishes when the viewer takes a closer look, notices the clever deception, and discovers what is really behind the graceful flocks: thousands of plastic bags, meticulously arranged by the artist.

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