Category Archives: Culture

Severance….

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My recent blog on Unstructured Hours has generated a fair amount of interest, especially on LinkedIn (where, contrary to popular belief, people still go to talk about career development and work/life balance). One former colleague I spoke to expressed some relief at having been made redundant, because they wouldn’t have to join any more early morning or late night conference calls (at least, not until the next corporate gig….).

Is it possible to separate “work” from “life”? (image sourced from IMDB)

The continued debate about “getting back to the office” suggests that employers are having to bribe and coerce staff to turn up in person. It reminds me of the 1980s, working in London, when some firms were offering free breakfast to ensure employees came in early. It was also a time when Friday drinks took on a social and cultural significance all of their own (until the lawsuits started rolling in).

When thinking about the desire to establish boundaries between our work hours and our non-work hours, I can’t help think about the TV series, “Severance”. Leaving aside the science fiction narrative, the basic premise is that it is possible to hermetically seal our working hours from the rest of our lives.

The irony is that when in the office, the staff of “Severance” are often (and inevitably) thinking about their “outies” (their external, outside selves from whose memory they are “detached” for 8 hours a day). And when outside, they may reflect upon their office “self” (and ponder on what type of work they actually do – I think we’d all like to know that!).

While some logistical considerations have been factored in (like, knowing whom to phone when taking sick leave), this hard delineation means that it must be very difficult to schedule your external social life, or attend to other personal tasks such as on-line banking, home shopping, booking holidays or the myriad of other needs we navigate during our working hours. (Again, I’m reminded of the 1980s, when we were allowed 15 minutes a week to go to the bank!)

On the hand, the ability to disconnect completely when you walk out of the office and leave your work behind you feels very appealing!

Next week: The Five Ws of Journalism

 

 

Reclaim The Night

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Before I get into this week’s topic, some background for context. A few weeks ago I was having coffee in my local cafe. I couldn’t help overhear two young women talking at the next table. One of them was expressing the level of fear she experiences whenever she is out alone for a run, a walk, or on her bike. She described the apprehension she feels that a man might randomly attack her. These attacks might be physical or verbal, actual or threatened, explicit or implied. Her natural reaction is to be extra vigilant about her personal safety, but there was also a sense of dread and exhaustion at having to navigate this constant threat, and in turn raises a risk of not pursuing her daily activities. It was a depressing reminder that women must feel the same way, every day, and the recent events in Ballarat were surely a prompt for this discussion.

In October 1980, I became a student at Leeds University. Newly arrived in the city from London, where I grew up, I think I was only vaguely aware of the infamous Yorkshire Ripper case. But soon after my first term started, a student was murdered not far from the University campus, and in an area where many students lived. Jacqueline Hill was deemed to be Peter Sutcliffe’s last victim (but probably not for the want of trying on his part, given his violent attacks on women are believed to have begun in the late 1960s). I was in the city centre on the night that the police confirmed that they had caught Sutcliffe, and the sense of public relief was palpable and understandable, if misplaced – because Sutcliffe was obviously a “maniac” and not like “normal” men.

During Sutcliffe’s campaign of violence and murderous attacks, women in Leeds had organised a series of marches known as Reclaim the Night, largely in response to police advice that women should not venture into public places alone at night. The marches were also designed to draw attention to issues of domestic violence, rape and other offences and injustices against women. They were part of the feminist debate around issues of the patriarchal society, misogyny, sexism and apparent double standards when it came to the police investigation into the Sutcliffe case.

I recall seeing some of the marches in Leeds, and there were even calls for a night-time curfew on men. A radical suggestion, and one I had some sympathy for, but it was obviously impractical and in some ways the wrong response. Calling for men to be off the streets is not so very different to cultures and religions demanding (and forcing) women to dress “modestly” in public in case they provoke men into a sexual or violent frenzy. Surely, men should be able to control themselves?

Sadly, it seems we still need to be constantly reminded of how vile, aggressive, threatening, intimidating and violent men are towards women, individually and collectively.

Next week: Sakamoto – Opus

 

 

Triennial? Could try harder!

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The NGV 2023 Triennial is really perplexing. It promises a lot, but ends up delivering very little of substance. I came away with no lasting impression of any particular work, and given there are 100 “projects” on display, that’s a very low strike rate.

First, the positives: it’s free; it draws in the crowds (especially during Melbourne’s late summer heatwave); there are over 120 artists involved; they include local and international, established and emerging names; most forms of art practice are represented; there is a LOT to look at.

Now the negatives: the curation felt scatter-gun, with the lack of a clear narrative theme or contextual thread; BIG is interpreted as being GOOD; the juxtaposition of new works with the NGV permanent collection must have seemed like a good idea, but the joins are abrupt and the implied associations often make no sense at all; and despite the variety of media, it all felt very samey, and nothing cutting edge; in fact, it all felt rather safe.

Much of the work looked like it had come off a conveyor belt, or designed by a focus group. So it ended up feeling bland, anodyne, tokenistic, worthy, “shocking” for its own sake, and was like a production line of the “latest thing”.

Often, less is more. This felt bloated and over done.

A great shame, and a lost opportunity.

Next week: State of the Music Industry…

 

 

Ballarat International Foto Biennale (BIFB)

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This past weekend saw the opening of the 10th Ballarat Internationale Foto Biennale. The overarching theme this year is “The Real Thing”, recognising the impact that digital, AI, NFTs and image manipulation are having on the visual arts in general, and the photographic medium in particular.

The highlight of the first weekend was the keynote presentation by Platon, one of the most high-profile and prolific portrait photographers of our age, famous for his images of political figures, popular icons, and social activists. Given that Platon works mostly with traditional 35mm film and captures living subjects, his work certainly deals with the “real” thing.

At the end of the first day, visitors were also treated to a Victorian magic lantern presentation, combining authentic analog apparatus, multi-media components and live performance. For audiences of the day, such events would have been their first encounter with moving images and projections – which we take for granted in our screen-obsessed culture.

As with any festival on this scale and duration, there is a wide range of work on display. This is especially so outside the Core Program, with the Outdoor and Open Programs taking on the challenging task of representing different aesthetics, styles, techniques, subject matter, and as such they reflect varying levels of quality and competence.

It wasn’t possible to see all of the exhibitions in the first two days – and some works don’t go on display until later in the program – but for me, the highlights beyond the major Platon show included: Stephen Dupont‘s happy accidents; Jon Setter‘s stunning abstract images of Ballarat; several of the works by regional photographers curated by Jeff Moorfoot; the scattered works by the Oculi Collective; and the display presented by the Australian Association of Street Photographers Inc.

Some exhibitions were less successful: I really wanted to engage with William Yang‘s work, but the unfocused curation and haphazard presentation undermined any appreciation of the images and their underlying narrative; Erik Johansson‘s highly stylised images are humorous and surreal, but they can also come across as very superficial, so we are left marvelling at the surface technique rather than any depth behind the work; and while it was nice to see some of Andy Warhol‘s original Polaroids, they were presented with very limited context, as if they were an afterthought (the fact that they are probably the earliest works in the whole festival may have something to do with them feeling out of place, as well as out of time).

It is easy to see how some photographers could get constrained, either by their subject matter, or by their technique. Working with self-imposed limitations should be positive. Using fewer tools can drive creativity (“less is more”). Having less time can result in better outcomes (“the first take is usually the best take”). Innovation comes from exploring our curiosity. Inventiveness is the result of challenging ourselves through problem-solving. However, an artist can reveal themselves to be a one-trick pony, or their technical expertise overwhelms the output (“form over substance”). Sometimes, the narrative or subject matter is more important than the quality of the image, but just as a crappy technique can impair a great image, a perfect technique cannot compensate for a poor composition.

The notion of “reality” prompts us to consider what is a photograph? The fact that most modern photos are captured on a smart phone rather then a camera simply confirms that not all photographic images need to be created using a dedicated physical device (think of photograms). And since most photos are digital rather than on film means we are not limited to think of photography as a combination of manual, chemical and mechanical processes.

However, some of the work on display does challenge the definition of “photography”, especially in the context of art. For example, an image can be surreal or satirical, but when does that stray into being fake news? Equally, even though professionals like Platon render their work in a digital environment during the post-production process, should a composite of stock images manipulated using Adobe Photoshop qualify as a work of photographic art (or is it a mere illustration)? And with the growth of AI tools to generate images (which raises questions of authorship, copyright and attribution), should their use be disclosed and identified (just as paintings, sculptures and other art works are catalogued by their materials, processes and editioning)?

In the early days of music CDs, the recording industry developed the “SPARS code”. Letter combinations such as “AAD”, “ADD”, and “DDD” are intended to inform listeners that the music has been recorded, mixed and mastered using either analog or digital processes and equipment. Perhaps something similar should be considered for photography and digital art?

Next week: Banking Blues (pt. 481)