Every age has a theory of rising and falling, of growth and decay, of bloom and wilt: a theory of nature. Every age also has a theory about the past and the present, of what was and what is, a notion of time: a theory of history. Theories of history used to be supernatural: the divine ruled time; the hand of God, a special providence, lay behind the fall of each sparrow. If the present differed from the past, it was usually worse: supernatural theories of history tend to involve decline, a fall from grace, the loss of God’s favor, corruption. Beginning in the eighteenth century, as the intellectual historian Dorothy Ross once pointed out, theories of history became secular; then they started something new—historicism, the idea “that all events in historical time can be explained by prior events in historical time.” Things began looking up. First, there was that, then there was this, and this is better than that. The eighteenth century embraced the idea of progress; the nineteenth century had evolution; the twentieth century had growth and then innovation. Our era has disruption, which, despite its futurism, is atavistic. It’s a theory of history founded on a profound anxiety about financial collapse, an apocalyptic fear of global devastation, and shaky evidence.
I’ve been cloudy for six months. This New Yorker article by Jill Lepore is the first thing I’ve encountered that cut through all that, and maybe it’s not just my own haziness it’s counteracting.
I’m still too dopey to really make it all the way through this essay with a careful eye. And maybe it’s just cause I’ve been so flattened for a while, but I don’t remember anyone else writing about tech, business, or most anything else, with the same beauty and precision.
I first came across Jill Lepore’s writing when researching luck — she’d written a lot about the original Game of Life. But this, reading this, after sharing Clayton Christensen’s private plane from Canada a few months ago, made me feel like she’s looking under rocks that other people have mistaken for monuments. And man, wait until you see what’s under those.
image: Erin O’Keefe, Much Ado, 2014, inkjet print, 36 x 24 inches
We are pleased to announce Frameshift, an exhibition at Denny Gallery, featuring work from:
Frameshift is an investigation into practices that visualize linguistic edits to the technical language of the photographic image while compressing multiple histories of image making and vision technology. Images and full information can be seen here.
We hope you join us for the opening on Thursday, June 12, from 6 - 8PM.
Denny Gallery is located at 261 Broome Street, New York. Frameshift will be on view until July 20, 2014. Visit the gallery webpage for hours and more information.
Picture of the Month for June via time-and-space.tv/
Your 5 x7 inch hi rez file for June is available for download at http://barrystone.com/picture-of-the-month-club-gallery
Some projects don’t have to have a more complicated reason for being than friends working with friends.
Diana Lange 2014.
Made with Processing.
Photo by Edward Steichen:
Chinese iOS and Android camera app has a unique ‘defog’ feature to improve shots taken in poor air conditions.
*** New “Defog” feature magically turns smoggy sky into clear blue one.
***The most popular photo editor loved by over 300 million users worldwide!
Get the 5x7 inch hi rez file here.
LEGMAN & AMMOwork by Andrea Muñoz Martinez and Evan Jose
Organized by Teresa Cervantes and Ricky Yanas.
Mass Gallery, Studio 3, 507 Calles Street, Suite 108, Austin, TX 78702
Open Weekends until June 2014 and by appointment
Solar Feminine, 2013