David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.


07 May 2013

In the realm of the 'post medium condition'...

        
We note some of the terminoLOGOS/HAHA in the announcement (extract below) for a forum at the Centre for Contemporary Photography, Melbourne. 

Around Photography: An Artists' Forum 

Christo Crocker, Danica Chapell, Geoff Robinson, Kiron Robinson and Jo Scicluna

CCP : Wednesday 8 May 2013    6-8pm 

In the realm of the 'post medium condition', how does a distinctly photographic sensibility transcend the photographic image and inform other material, sculptural and spatial outcomes? 

As the ultimate social medium photography has acquired an immediate and accessible omnipresence and has become embedded in our collective consciousness as a 'filter' for seeing and thinking. How, then, do photographic artists take this contemporary reality into their individual practice? When put into practice, is it possible for photographic ways of seeing and thinking to transcend the medium altogether? ...

In the realm of the 'post medium condition', for instance.  

And, the ultimate social medium photography...  That's quite a ] limited ( claim.  

Consider, "It is the mind that moves."  
- from The Gateless Gate

Since the 1980s, the artist Peter Tyndall has refused the conventional observer-denying mode of Medium descriptions such as OIL ON LINEN.

Given that it is not The Thing that we see but our differing perception-conceptions of The Thing, what then is the medium description of this, our regard? 
    
As a starter, Tyndall gives Medium as :
     
A Person Looks At A Work Of Art/
someone looks at something ...
CULTURAL CONSUMPTION PRODUCTION



detail
A Person Looks At A Work Of Art/  
someone looks at something ...
 
LOGOS/HA HA