Sometimes one comes across a person one finds interesting one whose spirit stands humbly on the ground just doing that which ought be done. There are no men to praise on that account. We are but mere mortals in a drama. Some think that GOD thinks they are GOD. HOW COULD THEY POSSIBLY KNOW THAT. SORRY for stealing an idea from "YES PRIME MINISTER"
YOU might claim that I with the usage of one, eye am being ignorant to use the sense ROYAL SINGULAR TENSE. You might even claim that such a tense does not exist. If it did not we would have to invent it else language is not complete.
- the intensive present I do write
- the intensive past I did write
- the habitual past I used to write
- the intensive future I shall write
- the "going-to future" I am going to write
- the "future in the past" I was going to write
- the conditional I would write
- the perfect conditional I would have written
- the subjunctive, if I be writing, if I were writing.
All verbs are is the name given to an action.
To be is to do. To do is to be. To not do is to not to be = DEAD.
I was given a copy of the SYNAGOGUE PRINT
And there it was on the wall where a fire destroyed it in 1994
It was gifted with the title in pencil "Know before whom thou standst"
We all stand before that creator the difference being I know what you do not.
Quoted from Peter Van der Veer
"Photography is about everything else.
So it's studying and documenting everything else through photography that interests me.
I don't believe photography can be learned from itself. Doing that is as logical as trying to elevate yourself by pulling up your shoelaces or going into ever decreasing circles.
Photography is what we think put through a camera.
"Frozen in time":
The idea that an otherwise elusive moment in time can be frozen permanently, was an initial attraction to photography. The notion was triggered by our mortality from learning about Pompei as a "time capsule" at about age nine which coincided with the extreme shock of my grandfather's passing; his physical being had suddenly evaporated into just intangible memories.
So there is a certain melancholy of time passing while trying to catch and preserve enjoyable moments with photography.
So, in taking photographs,there is time concern for everyone and everything.
I am a dedicated teacher and have become devoted to demonstrating the simple obvious.
Throughout history we've found the biggest mysteries have turned out to be the simple obvious. People only need to think logically about what they're looking at. 500 years ago, by Galileo and others, it was demonstrated how to do this; how everyone can instantly comprehend science (the universe around us) without effort. The lesson, if learned, saved lots of unnecessary words. Whole libraries of speculative fallacies were then and can continue to be debunked. The lesson was forgotten and few are learning now from today's observant teachers such as David Attenborough..
Our world is communicating visually now while humanity continues to blind itself with words. It is visual literacy with it's short cuts which is the old grammar for new learning about everything that exists all around us.
Unfortunately, most people are currently doing the opposite; not only shutting down, but also inverting their instinct and senses into a state of perpetual reduction with the aid of self indulgent personal amusement. Today's technological advantage is being used as a disadvantage. Cognitive development is going backwards.
Photography is an ideal catalyst and medium through which visual literacy and accelerated learning can start."
So it's studying and documenting everything else through photography that interests me.
I don't believe photography can be learned from itself. Doing that is as logical as trying to elevate yourself by pulling up your shoelaces or going into ever decreasing circles.
Photography is what we think put through a camera.
"Frozen in time":
The idea that an otherwise elusive moment in time can be frozen permanently, was an initial attraction to photography. The notion was triggered by our mortality from learning about Pompei as a "time capsule" at about age nine which coincided with the extreme shock of my grandfather's passing; his physical being had suddenly evaporated into just intangible memories.
So there is a certain melancholy of time passing while trying to catch and preserve enjoyable moments with photography.
So, in taking photographs,there is time concern for everyone and everything.
I am a dedicated teacher and have become devoted to demonstrating the simple obvious.
Throughout history we've found the biggest mysteries have turned out to be the simple obvious. People only need to think logically about what they're looking at. 500 years ago, by Galileo and others, it was demonstrated how to do this; how everyone can instantly comprehend science (the universe around us) without effort. The lesson, if learned, saved lots of unnecessary words. Whole libraries of speculative fallacies were then and can continue to be debunked. The lesson was forgotten and few are learning now from today's observant teachers such as David Attenborough..
Our world is communicating visually now while humanity continues to blind itself with words. It is visual literacy with it's short cuts which is the old grammar for new learning about everything that exists all around us.
Unfortunately, most people are currently doing the opposite; not only shutting down, but also inverting their instinct and senses into a state of perpetual reduction with the aid of self indulgent personal amusement. Today's technological advantage is being used as a disadvantage. Cognitive development is going backwards.
Photography is an ideal catalyst and medium through which visual literacy and accelerated learning can start."
PV 1983 episode in Tasmania
"In Melbourne after investing established creative success incorrectly, life became a series of mechanical appointments each expecting original spontaneity in a mechanical unappreciative environment. After some exhausting years, Tasmania was seen as a possible seachange. The novelty of being on an island with dramatic scenery and picturesque villages seemed an attractive alternative.
Firstly, I put down the camera, forgot "the Known" and resumed observing, then observed with drawing, then with camera selecting only one or two elements at a time. The result was rekindled awareness and a widened repertoire by having deconstructed image making, image construction, then employed various design elements in different ways while also considering them and their implications from multiple points of view. Image making was now free improvisation - taking themes, keys and progressions then running with them like jazz.
But on an island, I was unable to become accustomed to being severed from the familiar cultural diversity in Melbourne.
These images are only low res camera copies of prints, slides and drawings."
Firstly, I put down the camera, forgot "the Known" and resumed observing, then observed with drawing, then with camera selecting only one or two elements at a time. The result was rekindled awareness and a widened repertoire by having deconstructed image making, image construction, then employed various design elements in different ways while also considering them and their implications from multiple points of view. Image making was now free improvisation - taking themes, keys and progressions then running with them like jazz.
But on an island, I was unable to become accustomed to being severed from the familiar cultural diversity in Melbourne.
These images are only low res camera copies of prints, slides and drawings."
PV 1986 Episode in Tasmania
"A photographer asked for help during the summer in Tasmania. The stay went somewhat longer. Other photographers asked for help. They were encouraged to become a group of individuals in a unique environment and draw inspiration from it - their own uniqueness instead of replicating irrelevant implants from the mainland and the United States.
Most people don't see validity in themselves yet their individuality is what clients want, so many photographs were taken to demonstrate the surrounding patterns that were "forcing their hands". This idea was to accelerate individual habits among these photographers. Throughout this time I was driven, as usual, to pursue many levels and quests of my own.
Tasmania is an island measuring not much more than 200 kilometres each way. It stands in the Great Southern Ocean's forties latitude about 200 kms south of mainland Australia and a lot further than that north of Antarctica. Its location means it's a very dynamic place. Two hundred years ago, this temperate paradise was used by the English as an extreme prison. Soon afterwards the entire indigenous population was extinct. Visiting can be bittersweet; while in awe of its beauty, one is simultaneously touched by the sadness of its recent history.
These images are camera copies of recent small prints. Years of constant moving has not been kind to the negatives and with Agfa's demise, the last of the great paper and chemistry was suffering. It was a struggle to make mediocre prints whereas previously, straight prints had been excellent.
The photographs have been arranged largely in the order they were shot. St David's and the last eight are the exceptions to this."
Most people don't see validity in themselves yet their individuality is what clients want, so many photographs were taken to demonstrate the surrounding patterns that were "forcing their hands". This idea was to accelerate individual habits among these photographers. Throughout this time I was driven, as usual, to pursue many levels and quests of my own.
Tasmania is an island measuring not much more than 200 kilometres each way. It stands in the Great Southern Ocean's forties latitude about 200 kms south of mainland Australia and a lot further than that north of Antarctica. Its location means it's a very dynamic place. Two hundred years ago, this temperate paradise was used by the English as an extreme prison. Soon afterwards the entire indigenous population was extinct. Visiting can be bittersweet; while in awe of its beauty, one is simultaneously touched by the sadness of its recent history.
These images are camera copies of recent small prints. Years of constant moving has not been kind to the negatives and with Agfa's demise, the last of the great paper and chemistry was suffering. It was a struggle to make mediocre prints whereas previously, straight prints had been excellent.
The photographs have been arranged largely in the order they were shot. St David's and the last eight are the exceptions to this."
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