A goal: 20 interesting things to say…

“yeah, our days are numbered…after a while it begins to sound like background noise. I don’t have 20 interesting things to say a day, and I don’t believe many people do…”  (1) Kathleen Parker  (response to the question of the frequency and quality of “new media” (blogs)).

I absolutely agree that most people don’t have 20 interesting things to say  in a day – let alone a month even – for some, even a lifetime.

A lesson to be learned about the quality of writing on a blog – each piece treated as if one is writing an essay.

Over time, people will begin to learn how to discern the good from the bad  (anyone can blog afterall) and not just the popular. What the “old media”  (i.e. the published analogue media)  took care of for readers was a certain kind of filter and editing process. Readership knew this and perhaps this lead to a degree of complacency to accept what we see online. This is something we will have to re-educate ourselves to overcome.

Frequency of “bits” , while it may supply the needs of the attention deficit disordered reader , should not become the method by which one gains readership attention…  if one does achieve readership due to frequency – be wary.

I want depth – not frequency…

(1) 2010 Pulitzer prise récipient Kathleen Parker (traditional media / “old fashion conservative columnist” ) on the question of the transformation taking place in journalism and the “new media landscape”…and getting “attention”  (or otherwise known as an audience) .    Interview on NPR (Scott Simon)

The medium is the message…

, originally uploaded by Matt Niebuhr.

Sometimes… the medium is the message… and it becomes quite apparent when isolated…

On Farming – Call for Submissions

[Crop rotations.]

 

I came across this “Call for Submissions” by way of flickr.  The first proposed issue for publication looks promising…  In this era of globalization and with an optimistic view towards the potential of the butterfly effect  – why not consider a look and offer your own insights.

From the web site:

 

ISSUE #1: ON FARMING

The first edition of [bracket] is centered around the theme of farming. Once merely understood in terms of agriculture, today information, energy, labour, and landscape, among others, can be farmed… More here.

 

[bracket] is a collaboration of Archinect and InfraNet Lab, and is composed of a collection of diverse editors and an open-source contributing membership.

[bracket] is an annual publication documenting issues overlooked yet central to our cultural milieu that have evolved out of the new disciplinary territory at the intersection of architecturelandscapeurbanism and, now, the internet. It is no coincidence that the professional term architect can also now refer to information architects, and that the word community can also now refer to an online community. [bracket] is a publishing platform for ideas charting the complex overlap of the sphere of architecture and online social spheres.

 

http://www.brkt.org/

The Arctic – Time Change – Gautier Deblonde

From the series Arctic by Gautier Deblonde

I came across the work of Gautier Deblonde by way of Granta 101 in a photographic essay: “The Arctic”.    (The series “Voyage to Spitsbergen” can be seen on the site – nbpictures – and it is worth checking out…)The photographs in the series (Arctic) are meant to “serve as a reminder to people that our climate is changing, and that without a doubt it will affect them personally and profoundly, wherever they live. “

From the series Artic by Gautier Deblonde

From the series Arctic by Gautier Deblonde

I appreciate the sense of time in the photographs above. Why would one live up above the Arctic Circle these days – except in search of something – Oil? Natural Gas? – Scientists studying the ice? What has happened to this train?  Why is it here – and abandoned in this way – this place called the Spitsbergen ?  Near to the summer solstice as we are right now… with our sunrise / sunsets so early and late – seemingly – I’m trying hard to imagine what it must feel like to be in perpetual daylight for some 2 months straight in “Midsummer” – or the opposite – darkness in “Midwinter”…

How attuned to the natural rhythms of the day are we anymore?

Welcome to America’s Favorite Thrift Store!

Welcome to America’s Favorite Thrift Store!  © Matt Niebuhr

An interesting quote to consider from Smith’s The Wealth of Nations: “It is not from the benevolence of the butcher, the brewer, or the baker that we expect our dinner, but from their regard to their own interest. We address ourselves, not to their humanity but to their self-love, and never talk to them of our own necessities but of their advantages.”

Assuming that you might qualify, how will you choose to put your economic stimulus payment to good work?

UPDATE:

Brian Ulrich has been doing a series on the theme for some time… above and this variation below is my take on it….

Group show – December 6, 2008 – January 2009

100 x 100 PHOTO organized by the Barcelona art gallery Espai [b]

“Every Season, Every Occasion, Every Day!” – Matt Niebuhr 2007

60 cm x 40 cm – on aluminum sheet

limited edition of 100

More information: www.espaib.com

Village View Farm 1904 [West Central Iowa 2006]

One in a series entitled Portraits: Faces and Profiles of Utility

Pictured this way, this particular subject grouping becomes iconic – almost too much so perhaps. For me it is precisely this issue. This is the quintessential farmstead of 1904 pictured in 2006. Do we really see these farmsteads as symbols anymore or has this way of life receded into personal memory only?

More of my project work here: www.mattniebuhr.com

Skillful and selective photography – Finnish Modern Architectural Production

Reposted from HELSINGIN SANOMAT
INTERNATIONAL EDITION – CULTURE

Skillful and selective photography helped establish legend of Finnish architecture
Slovenian expert studies modernism of 1950s and ‘60s

By Anu Uimonen

“Finnish architecture was promoted in foreign countries in the 1950s and 1960s deliberately and very efficiently”, says Petra Ceferin, an architect and researcher from Slovenia.
“This is not very extensively known, because Finnish architects have a reputation for ‘not talking’. In fact, these ‘silent men’ were quite successful in promoting their work.”
Ceferin became immersed in the marketing of Finnish architecture when she wanted to find out how the concept “modern Finnish architecture” was born – or made.
“When I studied architecture, Finnish modern architecture was an important model which architects in Slovenia took to heart. For instance, we studied Alvar Aalto as a modernist who managed to preserve a human set of values.”

Ceferin’s curiosity was awakened, and after graduating in Ljubljana in 1995 she decided to go to Finland. She enrolled at the Department of Architecture at the Helsinki University of Technology in 1996.
During seven years that she spent in Finland, Ceferin wrote her doctoral thesis Constructing a Legend: The International Exhibitions of Finnish Architecture 1957-1967. Now the material used in the thesis has been set up as an exhibition at the Museum of Finnish Architecture. An important part of the exhibition architecture by Roy Mänttäri is in the posters and structures of old exhibitions.
“I am very happy that the exhibition is at the Museum of Finnish Architecture, because it was this same museum that organised the exhibitions of Finnish architecture in other countries that I studied.”
In other words, it is the museum that established a legend.

In the ten-year period that Ceferin investigated for her thesis, the Museum of Finnish Architecture organised nine overall exhibitions of Finnish architecture which were on display in 36 locations in different countries.
“The head of the museum Kyösti Ålander was efficient, and the result was an excellent set of exhibitions.”
“I was interested in what kind of an image of Finnish architecture the exhibitors wanted to project”, Ceferin says. “It was always very carefully planned.”
Each of the nine exhibitions had a jury, whose members were named by the museum and the Finnish Association of Architects. However, each year the buildings to be exhibited were very similar to one another.

A total of about 50 buildings were on display, about 30 of which were shown several times. Each of the nine exhibitions got 11 buildings.
“It is clear that if you want to have a strong exhibition, you have to make choices. In Finland the choice was to emphasise modernism, which was much appreciated.”
“At the same time it was clear that most of the architecture produced in Finland was excluded from the exhibitions. Many important architects were not a part of Finnish architecture in any way.”
Ceferin also studied buildings that were not included. The production of Alvar Aalto in the 1950s was represented well in all exhibitions, but his output from the 1960s was hardly on display at all. The Porthania building at the University of Helsinki, by Aarne Ervi, who is now highly esteemed, was also not on display.
The decorative architecture of the 1940s was not accepted; Kyösti Ålander dismissed it as a “swamp of subjectivism, from which we got back to the narrow but strong path of progressive development”.

Photographers had a very special role in the creation of the image of Finnish architecture. The magnificent black-and-white photographs show their subjects detached from their surroundings, almost as abstract compositions of form, light, and shadow.
It was sometimes difficult to say on the basis of interior photographs what the purpose of the building was, because they were clinically clean – with no people or animals. The pictures of facades did not reveal how the buildings were linked with the older urban surroundings. Only the building itself was brought out, and neighbouring structures were cropped out of the picture. When necessary, bothersome details were eliminated by retouching.

The idea was to present the buildings as “absolute architecture”.
“But the relationship between architecture and nature was important for Finns”, Ceferin says.
If nature was not appropriately available, the photographer’s assistant might have held the branch of a tree in front of the camera in order to achieve the right kind of effect.
“The Finnish promotion activities were very successful”, Ceferin says. She has read many articles on the Finnish exhibitions in foreign architectural journals.
“There was much written about the exhibitions. At first the focus was on traditional Finland stereotypes: distance, easterly location, quiet lakes, endless forests, dark winters, and the summer midnight sun. But gradually the tone changed, and people began to write about Finland as a modern, technologically advanced country.”

It is just this kind of a raising of the image of Finland that was the aim of the state-financed architectural exhibitions. Finland’s international reputation in design had been achieved somewhat earlier with the famous so-called “Miracle of Milan”, and now it was architecture’s turn.
The timing was perfect.
“In the 1950s, there was a yearning in the centres of international modernism for some regionalism – a different kind of modernism. Finland was a magnificent case in point. One can say that Finland was needed”, Petra Ceferin laughs.

Helsingin Sanomat / First published in print 14.9.2005

The exhibition of Finnish architecture as seen in foreign exhibitions in 1957 – 1967 will be on display at the Museum of Finnish Architecture in Helsinki at Kasarmikatu 24. Opening hours Tuesday – Sunday 10:00 AM – 4:00 PM, Wednesdays 10:00 AM – 8:00 PM.