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Hennessy Hammock?

02/10/2012

What the hell is a Hennessy Hammock?

And Luke explained:

A Hennessy Hammock is a tent/ hammock combo that is strung up like a hammock though is fully enclosed like a tent. It keeps you off of the ground and has mosquito netting and a rain fly.

This sounded like the perfect travel shelter.

Read more http://www.vagabondjourney.com/hennessy-hammock-tent-gear-review/

Psicogeografía Tropical

30/03/2010

La Fotografía como Percepción y Vivencia: Es grato anunciar que el Taller de Fotografìa VE LO IN VI SI BLE  funcionó en lo artístico, lo pedagógico y lo humano. Del 24 al 27 de marzo en el lugar Residencia en la Tierra a 7 horas de Bogotá en las montañas del Quindío tuvimos un espacio de encuentro para relacionar la fotografía, el arte y el paisaje a partir de nuestras percepciones y derivas.  El programa es una introducción al uso experimental de la fotografía y se basa en la práctica de la Deriva Psicogeográfica y la búsqueda del sentido de lugar a través de la intervención un lugar específico. La fotografía que se encuentra en el post, así como la que se encuentra en el Header (cabezote) del Blog fueron tomadas durante el desarrollo del Taller por Adelaida Velosa.

“Entre los diversos procedimientos situacionistas, la deriva se presenta como una técnica de paso ininterrumpido a través de ambientes diversos. El concepto de deriva está ligado indisolublemente al reconocimiento de efectos de naturaleza psicogeográfica, y a la afirmación de un comportamiento lúdico-constructivo, lo que la opone en todos los aspectos a las nociones clásicas de viaje y de paseo…”

“…Una o varias personas que se abandonan a la deriva renuncian durante un tiempo más o menos largo a los motivos para desplazarse o actuar normales en las relaciones, trabajos y entretenimientos que les son propios, para dejarse llevar por las solicitaciones del terreno y los encuentros que a él corresponden. La parte aleatoria es menos determinante de lo que se cree: desde el punto de vista de la deriva, existe un relieve psicogeográfico de las ciudades, con corrientes constantes, puntos fijos y remolinos que hacen difícil el acceso o la salida a ciertas zonas.”

Guy Debord – Teoría de la Deriva (lea el texto completo)

Why Psychogeography?

09/03/2010

Place Hacking: tales of urban exploration (Ph.D. Research)

I am enticed by what is behind the functioning façade of striated city space. Behind the scaffolding covering a building that appears to be only a promise of something, I find solace. Underneath the park where memories hide in disused bunkers, I encounter ghosts. Beyond the liminal zone of black hoarding that surrounds a derelict factory like a wagon circle, secrets reside. When the sun goes down and London goes to sleep, I might crawl into those places quietly, taking some pictures, shooting some video, scribbling some thoughts, sitting in silence; capturing little pieces of utopia, writing myself into these hidden histories as I watch their materiality mutate slowly like a rock moving through soil, assisted by the foliage we thought we had eradicated from the clean streets out there. Little green shoots crumble brick.

In fact, this is what entices me about every place where humans once resided – what was left behind and forgotten; what can be experienced; which transmutations can be anticipated. There is no one here to arrest this decay; no one to tell me how it should make me feel.

My research is a visual ethnography of urban exploration, a practice which involves the exploration of derelict buildings, mines, subway tunnels, underground facilities, atomic bunkers, sewers, drains, cranes and catacombs, among other things. These activities, depending on the group of people involved, might be labeled as creeping, crawling, building hacking, reality hacking, infiltration, UrbEx, UE, urban spelunking, urban caving or draining. I like to call it place hacking.

My research has taken me from London to Birmingham, from Paris to Berlin, from Camden to Clapham, as we search for new experiential playgrounds. My work has excavated layer after layer of memorial stratigraphy – a sort of psychological excavation that never hits bedrock.

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time
.

-T.S. Eliot, Little Gidding

Bradley Garrett – Writer, filmmaker and explorer of dereliction

Ph.D. Research on Urban Exploration

Emotional Cartography

19/02/2010

Emotional Cartography – Technologies of the SelfEdited by Christian Nold, 2009.

This book is a collection of essays from artists, designers, psychogeographers, cultural researchers, futurologists and neuroscientists brought together by christian nold to explore the political, social and cultural implications of visualising people’s intimate biometric data and emotions using technology. PDF of entire book here.

What if instead of boring roads and rivers maps showed us the smells, sounds, tastes, and feelings we experience? Mix psychology with geography and maps and you have PsychoGeography:the art and science of using our bodies to collect (and map) all sorts of interesting and important stuff about the world, things that don’t normally get mapped.

Emotional Cartography – Technologies of the Self

Flashismo y Estrobismo

19/02/2010

A shot inspired by Joe Rosenthal’s classic photograph of the flag raising on Iwo Jima. This time, the Strobist “flag” is being raised by the London Strobist Group on Tooting Bec Common, near Balham in London.

Strobist info: the “flag” flash you can obviously see (SB-900 at half power). A selection of others were used, primarily an SB-900 and SB-800 to the front of camera to the left, both pumped to the max with no modifiers to beat down the sun, with the overall ambient dropped down around 4 stops.

Information about the original photograph: www.iwojima.com/raising/raisingb.htm
www.davidwoof.com 

The Strobist No se pierdan de ésta aplicación de la Fotografía Artística Experimental y Lúdica


Caminar, tomar aire y …Fotos

19/02/2010

Foto de Liz Kuball en Fraction Magazine

Liz Kuball’s California Vernacular 

When you move out to California from back east, you come for a reason: You’re leaving behind a bad relationship, or escaping your hometown, or thinking you’ll be a star. And what you find when you get here is that things aren’t what you thought they’d be. There’s some of what you expected—sunshine and palm trees and long, wide beaches. But there’s more: houses with cacti and succulents in place of the green lawns you grew up with; women in bikinis climbing ladders; trees groomed in an archway, the expected path between them blocked by a gateless chain-link fence. You answer an ad on craigslist for a used car and find yourself in a boxed-in car lot in Van Nuys and go for pie at Du-par’s afterward, because pie makes sense when you’re on Ventura Boulevard and it’s 95 degrees and the car wasn’t what the ad said it would be. And you’d think that, after all this, you’d become disillusioned and go back home, and some do, of course, but many more of us stay and instead of growing bitter, we hang on—hang on to a world that, to us, is even more fantastic than the one we thought we’d find, because it’s real in its absurdity and because we have stories to tell.

Liz Kuball is a Los Angeles, CA based artist.
To view more of her work, please visit her website.

Man Ray

19/02/2010

  1. Ask me, if you like, to choose what I con sider the ten best pho­tographs I have pro duced until now, and here is my reply:
  2. An acci den tal snap shot of a shadow between two other care fully posed pic tures of a girl in a bathing suit.
  3. A close-up of an ant colony trans ported to the lab o ra tory, and illu mi nated by a flash.
  4. A twilight pic ture of the Empire State Build ing com pletely emp­tied of its tenants.
  5. A girl in neg ligee attire, call ing for help or merely attract ing attention.
  6. A black and white print obtained by plac ing a fun nel into the tray of devel op ing liq uid, and turn ing the light onto the sub merged paper.
  7. A dying leaf, its curled end des per ately claw ing the air.
  8. A close-up of an eye with the lashes well made up, a glass tear rest ing on the cheek.
  9. Frozen fire works on the night of a 14th of July in Paris.
  10. Photograph of a paint ing called, “The rope dancer accom pa nies her self with her shad ows. Man Ray 1916.”
  11. Photograph of a bro ken chair car ried home from Grif fith Park, Hol ly wood, at one of its bro ken legs the slip pers of Anna Pavlova.
  12. Do you doubt my sin cer ity? Really, if you imag ine that I value your opin ion enough to waste two min utes of my pre cious time try ing to con vince you, you are entirely mistaken.

— man ray, from the essay Photography Is Not Art, 1943