Time's Tentacles


https://www.calvertjournal.com/features/show/11361/libuse-jarcovjakova-photography-czechoslovakia


https://www.calvertjournal.com/features/show/11061/surreal-ussr-collages-tamara-stoffers

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Exercise 4.2

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I chose Kendall Jenner's Instagram because of how it is a mix of her showing "her personal life" but also her modeling career and family and everything. but in reality, it is still all particularly chosen to show a specific persona. something relatable but also unachievable. I included an image of her saved stories because this is her literally categorizing her life into little bubbles and labeling them.
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Erol Morris Reading In the article "Will the Real Hooded Man Please Stand Up" Errol Morris touches on the tragedies of Abu Ghraib, and essentially, how an image has the capability of building a story. Sometime during the war with Iraq in 2003, Abu Ghraib was where central intelligence agents of the United States violated various individuals' human rights by dehumanizing and torturing several of these prisoners of war. The original haunting images were released around 2003. Three years later, the  New York Times  came out identifying the individual in one of these photos as being the hooded man in the photo; when in reality, he wasn't. There were a lot of concepts from this article that, in the majority, had me thinking about the complexity of what is released and if we view them as true or not. But more importantly, what and how something becomes apart of history; and the perspective importance of it. This article mainly made me get a little upset in the way in w...
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Exercise 4.2 - Travels in Hyperidentity Context: "Titled "Bodies in Space," it will consider how the body is mediated by both virtual and physical space. The first section, "Radical Identification: The Body Online," is guided in part by a reading of Laura Mulvey's "Visual Pleasure and Narrative Cinema" and convenes artists who seek radical sources of personal or sexual identification in the internet age: Bunny Rogers's self-portraits as a mop or cat urn, Ann Hirsch's retelling of her preteen online relationship with an older man, or Laurie Simmons's photographs of the "doller" subculture. The second section, "The Body in Public," focuses on the organization of the body in public space and focuses on Magali Reus's custom-produced stadium seating, Alice Channer's floppy clothing cast in aluminum, and Nicolas Deshayes's slightly skewed public interior architecture. Lastly, the work of AIDS-3D, which ...
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