Hula Hoop Holder

Color street photography

Photo: “Hula Hoop Holder,” Seattle 2013. Ricoh GXR 50mm

What’s Your Opinion Worth?

Yes, I’m recovering from another late night tweeting argument. It’s not easy reading like this, which reminds me of Ginger Roger’s famous line about dancing with Fred Astaire: in heals and backward. In Twitter’s case, it’s reading backward through fragments, trying to sort through the back and forth blurbs in reverse chronology.

When I teach a composition and rhetoric class, exploring the difference between forming an idea and having an opinion is pretty important stuff. They’re not the same; they’re not synonyms. An idea is a concept held in the mind as a result of mental understanding, activity, or awareness. Central to an idea is the human activity of making sense, comprehending the meaning of the idea, remaining open to the likelihood that an idea can change. An opinion, is a view or judgement about something based not necessarily on knowledge or experience, often subjective. Opinions are seldom, if ever, central to the purpose of finding or making meaning of something or anything. They are many and shared often, solicited and unsolicited.

Opinions may certainly be ideas but ideas must be more than merely opinions.

Opinions being what they are, usually highly subjective, are most often exchanged with little outcome aside from efforts to be right, assertions of superiority, or claims of self-evident truths: It is because I said it is! The opinions of one can have little to do to affect the opinion of an other. If the opinion-holder believes him or herself to be the only right “answer” or position, then the purpose of the exchange is to hold that position, to re-assert its self-evidence, to claim other opinions are wrong or inferior.

An idea is product of mental activity: experience and/or knowledge. It is less subjective, seldom rooted in judgment, and open to substation and refutation. We make and share ideas when we are interested in making meaning, comprehending something. When our opinions shift or change, they do so because we’ve moved our views toward ideas or have had ideas affect our previous opinion. Even in agreement, the paths of experience and knowledge leading to agreement often differ. Exploring those paths are worthwhile as well.

Social networks are hives for opinions, where people express and fulfill  needs to express views, some deeply rooted and highly personal. Most are not ready to be ideas or to encounter the ideas of others, let alone other opinions on the same subject. Here and there, ideas are introduced to the mix, along with requests for examples, substantiation or explication of those ideas: why do you think that? How do you come to hold this position? What leads you to this conclusion? These attempts to pull back the curtains of opinions to see if it’s possible to construct or understand an underlying idea.

This doesn’t always go well, as you can image. These aren’t mediums for patient explication (unfolding the meaning) of ideas for the purposes of new or deeper understanding. They haven’t had to be. Maybe they’re not the mediums for understanding.

Opinions  are wrapped up with emotions and habits: dig in my heals, hold  my ground, claim my rightness, claim the others’ wrongness. Things get heated, participants start claiming rights to express this or that opinion, or begin to take claim for the communication act: this is a debate, or this isn’t a debate.  Mostly, what’s transpiring online are the posting of 140 character or status editorials.

As more of global society transitions to networked electronic communication, byte-sized exchanges of text and image, further development of logo-centric privilege, increase frequency of change requiring adaptation, and the shrinking of discourse platforms,what space is there for ideas and their explication, refutation,or  substantiation?  Ideas take time to unravel and examine. They take time and a myriad of diverse influences to grow. They need space that cultivates silence as much as chatter. They live in rich, complex cultural contexts–which are difficult to preserve digitally, where too often everyone’s got an opinion.

Perhaps our new media cultivate new habits and the practice of meaning-making that moves much faster, less recursive, more immediate, less reflective? Maybe we’ll habitualize this collecting of editorials and opinions, in a space where everyone is always right and everyone else is always wrong. Are we suppose to get used to that? We may be changing, and the changes inevitable. We may be adapting to a new intellectual paradigm, but at what cost and to whom, for what gain or value? In the end, as they say, opinions are a dime a dozen.

What’s in My Camera Bag?

I’ve recently started sharing image/text stories on Backspaces, a social network with web and mobile presence. I like the ability to use more frames to tell a story and have the ability to  include (or not) text to accompany photographs. The largely minimal U.I. is easy to use, mostly intuitive, good-looking.  I also like the ability to easily explore other stories and share  links to them via other social networks. I appreciate the simple feature of being able to just copy the link, too, which is convenient when I’m on my mobile. In fact, the website’s splash screen has the ubiquitous “suggested users list,” but it also features the stories/images themselves. I love the way the work is showcased and not jut the user or creator. Backspaces isn’t a camera replacement app, so users can happily shoot/create as they like in the style or size they prefer. No filters, either, just a place to compose stories.

Here’s my first trail of its iframe embed.

Noir Nerve

Photo of Man Smoking on Fifth Ave.

Photo: “Fifth Avenue,” April 2013, Seattle, with iPhone 5

This city punctuates with accidental encounters and collisions, hits a noir nerve and words dissolve into liquid language, streaming a galaxy of stars. There are no names to call to soothe longing, when night is an echo-chamber bouncing silence in a punctured box.

 

Mobile Photography: Artistry Can Rise from Accessibility

Not too long ago, I was asked whether I thought that mobile photography scene would become divided between those who share images as visual art and those who use their images as visual language in order to communicate with their friends? Would the work of the former lose reliability because of the latter?

My answer is that I don’t think mobile photography culture or scene is monolithic. It’s already divided into many, many strains. Artistic work versus informative work is a false dichotomy, a misleading and inaccurate divide. Good work tends to transcend our pre-conceived biases or expectations, most of the time. That’s why it’s good–the work surprises us, jars us, moves us away from our own limiting absolutes of what is or isn’t “art.”

When people write status updates using verbal language (words) I don’t have a hard time distinguishing an informational status update from a lyrical, poetic, or witty one. I think it’s the same with visual language. We can tell the difference between them, you know, the difference between an image that is communicating just information, and one that is communicating something in addition, something meaningful, insightful or beautiful.

Many people in the world for thousands of years have had the ability to write, in whatever language, and I don’t think that fact alone has in any way threatened the artistry of writers working in fiction, poetry, nonfiction, or drama. Other things threaten their artistry perhaps, but not the fact that many, many people write. Increased literacy improves the quality of writing. It improves the quality of literature by making more stories available to more people. Increased literacy also makes us better readers.

Now, many many people have the means to communicate visually with one another. We make more images, and we view more images. We’ll get use to this fact. We’ll still be able in the long run to discern artistry from the rest. I’m optimistic, because I do think we have a better opportunity for encouraging, nurturing and finding such visual talent, when we have sharing networks available like we do. And to do this means that viewers have to step up, too. Learn to read sensitively, critically, with discernment to sort through such volumes as we do.

Accessibility, fluency, ease: these aren’t the equivalent of talent. The photograph that moves us, that sends us into our own imaginations when we view it, or changes our concept of ourselves or others, that nudges us to care deeper for others and know better ourselves–these are going to be few and far between, because they are special. Talent that can do this is less prevalent in any age. But the pool from which such visual talent may arise has increased tenfold: more sources of inspiration, instruction, and competition. We can take up the challenge of making and finding good work from all that’s in the pool, and I think this kind of challenge is a good thing rather than something to be feared.

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