Selfie obsession

Figure 1 - Ellen Degeneres' "Oscar Selfie" and award winning tweet. Credit Ellen Degeneres Twitter.

Figure 1 – Ellen Degeneres’ “Oscar Selfie” and award winning tweet. Credit Ellen Degeneres Twitter.

Oh arg!  Sunday night was the Oscars, only the latest in the entertainment industry giving itself awards – seems at the very least weekly.  Sorry but this is the ultimate in self possesion, and yes, I am probably alienating a lot of people by saying so. Vote with your feet people!  This follows hard upon actor Seth Rogen’s outrage that a Senate Committee failed to show up for his testimony about Alzheimer’s disease.  Yes Alzheimer’s disease is truly terrible.  Yes we need more research into Alzheimer’s disease to find a cure.  Yes the United States congress is composed of a bunch of slackers.  But Rogen was giving personal not expert opinion.  Self-impressed a little?  I would be more concerned if Senators failed to show up to hear testimony from someone like Richard J. Rhodes, MD, who is the Director of the National Institute on Aging.  Another example, Martin Sheen is a political activist.  That’s fine as long as you recognize that you played the President of the United States on a television series, you never were really the president of the United States, Mr. Sheen.

I’m sorry, it’s just that I feel that there are more important people in this world. But clearly, I am in the minority as judged by the fact that Ellen Degeneres, the host of Sunday night’s Academy Awards ceremony, set a retweeting record with her star-studded selfie of Figure 1.  She received 2.7 million retweets and 1.4 million favorites.  Twitter in fact was briefly knocked off line when it received 700,000 retweets and 200,000 likes in 30 miniutes.  This eclipsed President Obama’s previous record with his tweet after winning the last presidential election.  That tweet, the so-called “Four More Years” tweet, featured an image of the president hugging First Lady Michelle Obama, and has been retweeted more than 780,000 times and favorite 295,000 times in about 15 months. Chicken feed! Degeneres’ photograph was taken selfie style by actor Bradley Cooper and included fellow nominees Meryl Streep, Brad Pitt, Lupita Nyong’o, and Jennifer Lawrence.

What does all this mean? I think that it may mean that we are shallow and superficial.  More to the point it serves as an amazing demonstration of just how rapidly images can spread around the world.  Even I am contributing to the spread of this image.  We now know the full implication of the term “its spread was viral over social media.”

The meme of Schrödinger’s cat

Figure 1 - Schrodinger's cat, (c) DE Wolf 2014.

Figure 1 – Schrodinger’s cat, (c) DE Wolf 2014.

Figure 1 is a photograph of a cat in a cardboard box.  It is meant to evoke the meme of Schrödinger’s cat. Schrödinger’s cat is a curious kind of meme that is illustrative of an important fact, namely, that knowing the meme is not necessarily to know what it means, or at least what it refers to.  Most people have little understanding (this is not a value judgement) of what the Schrödinger’s cat paradox is all about.  Indeed, they have little reason or need to understand it.  They know that it has something to do with a cat and a bottle of cyanide inside a box and perhaps that the paradox implies that physicists are stupid.  Such is the life of the meme.  It has very little to do with the science behind Schrödinger’s original description.  It is a lot like E = mc^2.  Very few people know what that means either.

Inevitably, and I apologize, I have to tell you just a little bit about what Schrödinger’s cat is all about.  Quantum mechanics is the set of physical laws that small systems (like atoms) obey.  They’re slightly different than the physical laws that big objects like you and I or the planet Saturn obey.  This isn’t so difficult to understand.  One is the extrapolation of the other when things get big.  It’s a lot like the planet Earth being round but for the most part, as we move about it, we can treat it as if it were flat.  I mean it doesn’t look round.

But since our common experience doesn’t deal with objects that are really small, we tend to get confused when we have to think about them  Artificial paradoxes arise. The most commonly held interpretation of quantum mechanics is the so called Copenhagen interpretation.   Guess where the meeting that the Copenhagen interpretation was developed occurred.  Brilliant! In the Copenhagen interpretation, we suppose that we have say an atom, which can be in one of two states: a ground state or an excited state.  We covered this about a year ago.Throw that atom in the box and close it.  Which state is the atom in?  You don’t really know until you open the box and look.  Quantum mechanically you can consider the atom to be in a combination of the two states until you look and measure it.  Then the system of states collapses and there is only one or the other.  The key to quantum mechanics is the inseparability of the observer and the observed.  It’s totally counter intuitive, and totally bizarre, and we know from certain experiments where the states interfere like the waves they are with one another that it is absolutely true.

But how do you make the measurement?  Suppose you use an electronic circuit inside the box that lights up when the atomic gets excited.  The Copenhagen interpretation makes apparent the fact that the nature of measurement, or observation, is not well-defined if you think about it in this way. The experiment can be interpreted to mean that while the box is closed, the system simultaneously exists in a superposition of the states.  The light is both on and off, until you look.  The whole thing becomes ludicrous when you add a living element to the measurement, namely a cat.  Let’s consider Schrödinger’s own description and please ignore what he says about the  Psi function.  It’s not important to get the gist.

“One can even set up quite ridiculous cases. A cat is penned up in a steel chamber, along with the following device (which must be secured against direct interference by the cat): in a Geiger counter, there is a tiny bit of radioactive substance, so small, that perhaps in the course of the hour one of the atoms decays, but also, with equal probability, perhaps none; if it happens, the counter tube discharges and through a relay releases a hammer that shatters a small flask of hydrocyanic acid. If one has left this entire system to itself for an hour, one would say that the cat still lives if meanwhile no atom has decayed. The psi-function of the entire system would express this by having in it the living and dead cat (pardon the expression) mixed or smeared out in equal parts.”*

Hmm!  It goes very much against thee commonly held view that the cat is either (A) alive or (B) dead, not both at the same time.  You might well ask, what this has to do with photography?  And I sheepishly must admit very little, except for the recurrent theme of memes in our discussion and the luscious point that they do not necessarily require true understanding of the underlying phenomenon.  They acquire a life of their own in the common culture and that after  all is really the point of both words and images as memes.  They metamorphose and evolve.  I will, however, point out that in his discussion Schrödinger does go on to describe the paradox in photographic terms.

“It is typical of these cases that an indeterminacy originally restricted to the atomic domain becomes transformed into macroscopic indeterminacy, which can then be resolved by direct observation. That prevents us from so naively accepting as valid a “blurred model” for representing reality. In itself, it would not embody anything unclear or contradictory. There is a difference between a shaky or out-of-focus photograph and a snapshot of clouds and fog banks.”*

There is, of course, also the cat’s view in all of this.  You will note that Schrödinger apologizes for his hypothetical cat murder.  This is because physicist’s tend to love cats, because cats, like physicist’s, are patiently seeking truth and understanding.  The cat is much more patient than the physicist.  Cats love boxes and may be termed claustrophiles. (S)He knows that she is alive, even though the physicist has, for the moment, disappeared.  The cat will wait endlessly, if necessary, for the physicist to return to the box.  But all that the ailurophile physicist really needs to do is stick his finger inside the box to find out if kitty is still alive.

*Erwin Schrödinger, Die gegenwärtige Situation in der Quantenmechanik (The present situation in quantum mechanics), Naturwissenschaften
(translated by John D. Trimmer in Proceedings of the American Philosophical Society)

Photographic shtick and gimmickry

Figure 1 - "I wait" by Julia Margaret Cameron  Wait. The model was Rachel Gurney. From the Wikipedia Commons and the Getty Museum.  In the public domain because it is more than a hundred years old.

Figure 1 – “I wait” by Julia Margaret Cameron Wait. The model was Rachel Gurney.This kind of Christian allegorical image was one of Cameron’s shtick. the Wikipedia Commons and the Getty Museum. In the public domain because it is more than a hundred years old.

I wanted to talk today a little about shtick and gimmickry in photography. According to the Wikipedia, “shtick,” which can also be spelled “schtick,” is derived from the Yiddish word shtik (שטיק), meaning “piece”; the closely related German word Stück has the same meaning.  But that’s really not what it means.  Shtick is often used in the context of comedy – Henny Youngman’s shtick was his violin.  I can just see most of my readers, Henny Who?  Henny Youngman was a comedian who played the violin, it was his shtick or trademark.  Ah, now we are getting somewhere.  The word shtick kind of means trademark, or what sets that person apart from the crowd by creating instant recognition. Alfred Hitchcock and M. Night Shyamalan share a shtick.  They both make cameo appearances in their movies.

If you see a glorious western vista, you immediately think of Ansell Adams, that was his shtick regardless of whether he actually took the photograph.  A great example of photographic shtick is Murad Osmann’s photographic Instagram series/blog “Follow me,” where the photographer and consequently the viewer is led around the world by the back reached hand of his beautiful girlfriend, Nataly Zakharova.  This is what Osman does, you immediately recognize a photograph as being his, and he has attained, well, viral internet recognition.  Similarly we have Diane Arbus, who is famous for her photographs of “deviant and marginal people.”. (I am not sure that I am happy with that phrase, but it is what the wiki on Arbus uses.” But again, such a photograph brings immediate recognition as being either by Arbus or derivative of her.

But then we move into a grayer territory.  Consider, for instance, the mirror distortion photographs that we have previously discussed by Andre Kertesz.  Once again such an image of a nude woman distorted in a circus mirror is immediately associated with Kertesz, but because Kertesz did so many different types of images in his lifetime  his distortion photographs are more a series or a study set, then true persistent shtick.  Likewise, Edward Weston’s salad photographs.

It is a marvelous fact that everyone, who takes and practices photography seriously, brings a unique and recognizable fingerprint to their craft.  One of the best ways to discover yours is to do a theme set of pictures – that is give yourself an assignment to take a series of connected photographs of some particular subject.  You know boats, other photographers taking pictures, hummingbirds, whatever.  Look for the similarities in your vision.  What is it that you always do?

And developing a shtick can be a short cut to achieving ephemeral fame.  This is finding your photographic voice and then adding just a bit of predictable spontaneity, and you’ve got shtick.

My reason for bringing this up, is that I’d like to add the word “shtick” to the Haiti and Skoll vocabulary.  And, by the way, there is nothing wrong with shtick.  It can be really fun, really unique, and truly beautiful. Tomorrow, I’m going to show you some absolutely gorgeous shtick from a contemporary photographer.  But, and for today, I’d like to share one of the little angel photographs of Julia Margaret Cameron, whom we have spoken a lot about.  This kind of Christian allegory was, well you know, one of her shticks!

 

Extreme selfie-ing

Figure 1 - Extreme Selfie of the Artist, (c) DE Wolf 2014.

Figure 1 – Extreme Selfie of the Artist, (c) DE Wolf 2014.

The other night I was watching the Olympics on television.  There are all these new sports.  It is just a bit bewildering.  And in the United States, if you watch the coverage on network television, you really don’t get that much coverage of any given event.  I understand the problem, but they never have found the right formula.  So when you find yourself contemplating the broadcasters, who haven’t lost a single lock of hair in the past thirty years, you start to wonder what is going on.

One of the interesting points is that winter sports keep going more and more extreme –   “extreme skiing, extreme snowboarding.”  So that got me thinking what about extreme “selfie-ing?” And needless-to-say since the whole show was getting pretty soporific; so I found myself trying it for myself.  As a result I give you Figure 1 – Extreme Selfie of the Artist.  I first tried it out with the front-facing camera on my IPhoe.  But as we discussed the rear-facing camera is a whole bunch better, and since you cannot see what you are doing past a certain distance it really doesn’t matter.  Just stare close into the lens and try to hold the phone straight and flat.

I am actually pretty impressed with the result.  The depth of field is pretty much nonexistent.  But where it is in focus, it’s surprisingly sharp.  And then we can go off on one of those mindlessly profound stories of how the eye is the portal of the soul, or some such.  Well, Dr. Freud, sometimes a pencil is just a pencil, and more often than not, a selfie, even an extreme selfie, is just for fun!

Documenting change with photography

Figure 1 - A dramatic, fresh impact crater dominates this image taken by the High Resolution Imaging Science Experiment (HiRISE) camera on NASA's Mars Reconnaissance Orbiter on Nov. 19, 2013.  Researchers used HiRISE to examine this site because the orbiter's Context Camera had revealed a change in appearance here between observations in July 2010 and May 2012, bracketing the formation of the crater between those observations.

Figure 1 – A dramatic, fresh impact crater photographed by NASA’s Mars Reconnaissance Orbiter on Nov. 19, 2013.  The last images of this region were taken in May 2012 and showed no crater.  Image from NASA and in the public domain.

My friend Howard, who is an astrophysicist, recently posted on his Facebook page the image of Figure 1. It was taken by NASA’s Mars Orbiter and shows a new impact crater on the surface of the Red Planet. By now you know that I am a lover of the art form of these space images. I cannot help but marvel at these robotic eyes. There is so much wonderful technology in building them, in getting them there, and even in the ability to transmit high resolution images using next to no power the 35 to 250 million miles to Earth. It’s truly a marvelous invention of Man. And yes there is man or woman subtly omnipresent in the image. The composition, the choice of coloration, the delicate debris stream that radiates outward from the crater all bear the signature of artistically sensitive man. Science reunites with humanism a hundred million miles from Earth.

But in this particular image, I think that there is something more.  The image is meant in this case to document change.  This crater has appeared as if out of nowhere between May 2012 and November 2013.  It is reminiscent of the jelly doughnut rock.  There is geology at play on Mars as on Earth.  The Martian terrain bears witness to the forces of change: water, ice, wind, and sun.  We have already spoken of how rocks seem to grow over the winter in our lawns, driven, in fact, to trhe surface by a frost heave effect – that is by the expansion of ice when it freezes.  Yes there are meteorite impacts that form craters that throw rocks, and there are volcanoes that spew rocks for hundreds of miles.  The point is that geology is not static but all about change.

And it is a curious thing that photography that is the most precisely instantaneous and immutable of media is used, in so many instances, to bear witness to change.  With the jelly doughnut rock and with this crater it is geological change that the photograph is documenting.  But think of how much you enjoy leafing through old family photograph albums.  The appeal is to see a precise sequence of insanely instantaneous moments that display the change in ourselves and in our families and friend.  They make us smile, laugh, and even cry.  “Time doth transfix the flourish set on youth…”

This is also, of course, part of the appeal of old photographs.  Being black and white adds to the magic.  Sepia toning is best at setting the mood of authenticity that “yes, this is an old object.”  We love to look at old pictures.  Our eyes strain to digest every instance of change.  But is it really change that we are looking for?  In old family photographs we gain satisfaction in familiarity.  No matter how much younger you or your parents were, in the end, they really look like you.  They really are you.  And in the case of old photographs the appeal is ultimately in consistency.  They were people like us.  The clothes have changed – fashion does.  I often focus on the neckties.  But the places are ultimately the same – add a touch of nostalgia for a moment in time that you otherwise never experienced. And magically through the power of the photograph we realize that in the end they were – even are – just like usPlus ça change, plus c’est la même chose.

Thinking about snow and the Donner party

Figure 1 - Summit Peak, California in 1866 showing the tree stumps cut by the Donner Party in 1846 at the snow line.  From the LOC via Wikimedipedia and in the public domain.

Figure 1 – Summit Peak, California in 1866 showing the tree stumps cut by the Donner Party in 1846 at the snow line. From the LOC via Wikimedipedia and in the public domain.

It has been snowing like crazy here in Massachusetts today.  So it isn’t surprising that my thoughts today center around the white fluff.  I just made a dash to the mailbox and that was quite sufficient to bring to mind the ill fated Donner Party and some very memorable photographs.

The Donner Party was a group who set out in 1846 for California during the great western migration.  Arguably the hardest part of this journey was the perilous 100 mile trip across the Sierra Nevada. The Sierra Nevada mountains contain 500 distinct peaks over 12,000 feet.  But more ominously because they are constantly bathed in the air currents that carry the moist vapors of the nearby Pacific Ocean they receive a huge amount of snow.  This year (2014) is a radical exception.  But for the early wagon trains of the California migration the key was making it to and crossing the Sierras before the snow fell. The Donner Party was delayed by a series of mishaps and didn’t reach the Sierras until early November of 1846.  They were forced to winter in the Sierra Nevada.  Snowbound, their food ran out and some of the emigrants resorted to cannibalism to survive, eating those who had succumbed to the deprivations of a bitter winter.  Their story is legendary and considered to be one of the great tragedies of western history.

Figure 1 is an example of one of the photographs that I was speaking about. It was taken twenty years after the tragedy and shows the “Stumps of trees cut by the Donner Party in Summit Valley, Placer County.”  The cut line towers over the man in the photograph, illustrating just how high the snow pack was in 1846 – just how hopeless the plight of these people was.  The image is a gray-scaled albumen print, half of a stereograph. It is from the Library of Congress and was originally published as “Gems of California scenery, no. 778 (1866).”

I think that it is significant to note that the photograph does not show any of the horrors and deprivations that the Donner Party endured.  Rather it accomplishes the same effect by allusion and association.  You look at the man and then at the tree stumps and the whole story floods back into your mind.  Photographs do not always need to depict terrible events graphically.  Sometimes the associations is enough.

I once saw a British Documentary about the holocaust that followed the return of a woman, who was a physician, to Auschwitz.  The documentary showed nothing graphic.  It didn’t wrench you away with vividness. Rather it was defined by a moment when the woman entered a rooms, started to point out what was what, and then started to cry uncontrollably.  It was that association which made this the most effective such documentary that I have ever seen.

Involuntary time warps

Figure 1 - Hiroo Onoda in 1944 as a young Imperial Japanese officer.  Image from the Wikipedia, originally taken by the governement of Japan and in the public domain.

Figure 1 – Hiroo Onoda in 1944 as a young Imperial Japanese officer. Image from the Wikipedia, originally taken by the governement of Japan and in the public domain.

We have been talking at length about photography and time travel.  First, we discussed how photography gives us a glimpse into the lives of people from the past and how they almost seem to know that we are watching them.  Then we discussed how a set of snapshots of the same person from different points in their lives all laid out on a table unsticks that person in time, just like Kurt Vonnegut‘s “Billy Pilgrim.”  Then we considered people who voluntarily time  warp themselves.  All are favorite subjects for photographers: people who like the Amish or Hasidim prefer to live in isolated communities framed in anachronistic settings, or for that matter Revolutionary and Civil War reenactors and Renaissance Fare People. And yes we have the Up Helly Aa Vikings as well!

Well, today I’d like to tell the story of Hiroo Onoda who died on January 17th at age 91. Onoda was a Japanese soldier who spent 29 years “time-warped” in the Philippine jungle, refusing to believe that World War II had ended. In 1944, Onoda was sent to the  island of Lubang to spy on U.S. troops on the island.   For 29 years, he and a few companions survived by collecting food from the jungle or stealing it from local farmers.  It wasn’t until 1974 after all his companions had died was Onoda finally persuaded to come out from hiding.  But before he would do so his commanding officer had to travel to Lubang and release him from the orders he had given Onoda nearly three decades before.

This story of involuntary time-warp is reminiscent of so many old Twilight Zone episodes that still haunt my dreams.  The big issue, I suppose, is whether such people are truly involuntarily time-warped, or is it more a failure to accept reality and the truth.  We have to ask whether it isn’t just denial in the extreme.  Is there truly honor in slavish adherence to a superiors command against all reason?  I really don’t have an answer to these questions, but I do know that the answer certainly lies in The Twilight Zone.

 

B. F. Skinner and the decline of Facebook

Figure 1 - B. F. Skinner c 1950 from the Wikipedia, original work by Silly rabbit and in the public domain under GNU Free Documentation License,

Figure 1 – B. F. Skinner c 1950 from the Wikipedia, original work by Silly rabbit and in the public domain under GNU Free Documentation License,

In 1971 Harvard Psychology Professor B. F. Skinner(1904-1990) published his landmark and very annoying book “Beyond Freedom and  Dignity.”  For many, this book was annoying because it challenged the concept of free will – and we kinda like to think that our actions are our own choices – not preprogrammed choices.  I mean it is rather annoying to think that someone could ultimately create a mathematical model of behaviour that could predict human action.  Beyond the visceral reaction, I  found it annoying for another reason.  I could accept that fact that there were inputs and that laws governed how a psychological system dealt with this inputs and led us to an inevitable output.  But, we had already learned from physics that while, for instance, Newton’s laws could predict how the molecule of a balloon filled with helium interacted, provided you knew the starting condition, that the system was ultimately so complicated that we needed statistical mechanics to explain it, and statistical mechanics ultimately provided only randomness and probabilities.  Behavioural systems had to be perhaps even more complicated.  Even if in principle they were totally deterministic; in practice they were statistical – that effectively there would be free will.

Well all this aside, there is something truly insulting about the view that mathematics can predict our behaviour.  Well, a team of scientists at Princeton have done just that.  They have modeled the rise and fall of Facebook with mathematical models designed to study viral disease epidemics.  The prediction made by these models is that Facebook will lose 80% of its subscribers by 2015-2018.  This must be doubly insulting to the folks at Facebook.  Not only do they face imminent demise, but they are being likened to a disease.  And if you look at the meteoric rise and fall of MySpace and compare the latest data for Facebook, things really aren’t looking that rosy.

The company  admitted in October that its teen base is declining. And a study by IStrategy Labs indicates that Facebook had 25 percent fewer teenage users in 2013 compared to 2011. When this reached the news last fall, I heard a teen being questioned about it and she blamed the infestation of Facebook with adults.  She pointed out that when she posts a picture of herself, she wants her friends to say how pretty she looks, not her parents’ friends to say how much she looks like her mother.  Hmm!  The teens are moving on, not away from social networks, but to other forms and forums of social connection. As the Princeton study points out:

“Ideas, like diseases, have been shown to spread infectiously between people before eventually dying out, and have been successfully described with epidemiological model … Idea manifesters ultimately lose interest with the idea and no longer manifest the idea, which can be thought of as the gain of “immunity” to the idea.”

We have spoken before about technologies that represent true quantum leaps and what I have referred to as transitional technologies – ones that are short-lived and bridge a gap. Social media is, I think, something different.  It has been made possible by major technological advances: e.g. computers and the internet.  But it is itself more an amorphous concept or meme than a physical thing.  Still I believe that social media is here to stay and is truly transforming the world.  But the specific vehicle, or is it merely a product, is very short-lived.

Voluntary time warps

Fifers, (c) DE Wolf 2013

Fifers, July 4, 2013 – a voluntary time warp (c) DE Wolf 2013

We have spoken about how photographs enable us to transcend time and to get a look at the past – to become intimate with the past. In a science fiction sense, the photograph creates a “time warp.”  But this too may be totally contrived.  People may choose to create a time warp, and this can be done in a variety of ways.

I was thinking about this idea today as I was looking at the portfolios by Jennifer Greenburg: “The Rockabillies” and “Revising History.”  In “The Rockabillies” Ms. Greenburg photographs the lives of the Rockabilly culture.  These individuals try to live as closely as possible in the style of the 1950’s and 1960’s when Rockabilly music was king.  In  “Revising History” Ms. Greenburg cleverly takes snapshots from the period and superimposes her own head in the images.

The Rockabilly culture is reminiscent of  M. Night Shyamalan ‘s 2004 film “The Village.”  In the movie a group of people become so disgusted with the violent era we live in that they set up a compound where they can live a cultish and simpler life, perhaps at the end of the nineteenth century.  They have psychologically transported themselves in time.  In both cases the subjects have chosen to place themselves in a kind of time warp.

Arguably there are a number of religious groups, the Amish and Hasidim come to mind, who attempt to do the same thing.  The modern times around them become a necessary annoyance. And don’t we find it quaint and exotic to photograph these cultures.  Indeed the whole genre of “vanishing peoples” photography fall into this category.

But there are other, perhaps less extreme, examples of photographic subjects time warping themselves.  There are the reenactorsand there are a multitude of examples: revolutionary war reenactors, civil war reenactors, the Society for Creative Antiquities, the Renaissance Fair people.  And in all cases we love to photograph them.  These people have made time warping an act of love and they play the important role of connecting us with our past – of teaching us about our past.

In this category also falls the photo salons at tourist sites where you can have your picture taken in appropriate period gown.  And significantly also are the modern day photographers who keep alive the difficult photographic processes, such daguerreotype and wet colloidan in many cases choosing subjects fit for the period when these processes were dominant.

We recognize in all of this the desire to play act.  If we go back to Julia Margaret Cameron, for instance, we see a form of photography where the photographer set up elaborate sets and costumed characters to portray an earlier time, real or imagined.   Fortunately, there are still some few photographer who are willing to put in the time and effort to  still practice this art.

When the reenactment is from literature or mythology, we might be inclined to argue that it is somehow defective and unreal.  However, if I may be allowed to return to the context of parallel universes, what the artist/photographer is doing is creating a new parallel universe.  And therein lays the glory!