prov·e·nance  (prŏv′ə-nəns, -näns′)

n.

1. Place of origin; derivation.
2.

a. The history of the ownership of an object, especially when documented or authenticated. Used of artworks, antiques, and books.
b. The records or documents authenticating such an object or the history of its ownership.

[French, from provenant, present participle of provenirto originate, from Old French, from Latin prōvenīre :prō-forth; see pro-1 + venīreto come; see gwā- in Indo-European roots.]

provenance (ˈprɒvɪnəns) or provenience

n

1. (Art Terms) a place of origin, esp that of a work of art or archaeological specimen
2. (Archaeology) a place of origin, esp that of a work of art or archaeological specimen
[C19: from French, from provenir, from Latin prōvenīre to originate, from venīre to come]

Collins English Dictionary – Complete and Unabridged © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003


prov•e•nance (ˈprɒv ə nəns, -ˌnɑns) n.

place or source of origin: a manuscript of unknown provenance.
[1860–65; < French, derivative of provenant, present participle of provenir < Latin prōvenīre to come forth; see pro1convene-ance]
Random House Kernerman Webster’s College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.

”… But remember that the intuition of a good artist is a most powerful, a most intelligent and a frequently underrated tool.’ Hans – Geord Gamdamer

  • Artists ‘Horizon’: Vision/ Ideas/ Agenda
  • Viewers ‘Horizon’: not all exactly the same
  • Viewers Horizon Shaped by countless things: memory/ knowledge/ experience/ politics
  • Hans believes these two Horizons should fuse together
  • True understanding between artist and viewer
  • Have you ever read a book that has changed your perception of the world and informed your opinions?
  • That is what we are striving for
  • Horizon: Our presentation choices must reinforce the communication of our message or theme
  • We can only control our own ‘Horizon’

The submission must exist both as a singularly unique and finely crafted artefact. The weight of objects The craftsman The Edition The Digital repli(can’t)   A physical object occupies physical space.   Kevin Kelly – Better than Free

  • The Technium
  • Can’t replicate truth and provenience digitally
  • ‘The digital copy does not have a body’
  • No end to greater embodiment

Need to embrace the weight of physical objects  

  • we don’t have to create physical artefacts: but when we do we must make sure they are precious, and inform our Horizon.
  • A book has weight, size, thickness and tactile qualities, qualities which are handled by the hand as it’s optical form is handled by the eye. 
  • Robert Knoth & Antoinette de Jong: ‘Poppy’ book. Interested in the trail of cocaine.

Brigitte Frase

  • ‘The printed page, the bound (codex) book with its title and author page, looks authoritative; it can be described as embodying or containing wisdom in a way that the unstable electronic text does not’

Kadir Van Lohuizzen

  • Via PanAm
  • The digital copy was out before the physical and is drastically cheaper
  • Yet the physical copy still sells
  • proves that there is weight to the importance of being able to react with the physical.

Brian Griffon

  • Published in 1988 by Black Pudding and designed by John Warwicker
  • There is a story behind the book and the physicality: adds provenance
  • costs £125.00
  • You have to destroy the book to understand the book
  • based on death
  • the closer you come to death the closer you come to understanding life

The IRL Fetish

  • We are obsessed with the physicality of reality
  • We don’t tweet or blog about logging on, but we do about real life, even the seemingly mundane
  • Becomes fascinating
  • There is a clearly a want for this embodiment
  • We are digital Natives: we shouldn’t do this – yet we crave it
  • Value is placed in a different way: people who rip music online don’t NOT respect music, but they place more value on the physical versions of that music and the space it occupies in reality (special edition CDs, Vinyl, Gigs,

Space

  • To think
  • To pause
  • To break the flow of images

Part of the reason for us printing work: makes people stop and look and interact with it The Craftsman

  • The Photographer as Alchemist/ Craftsmen
  • Stories Truth Experience Process

Faux Vintage: filters and such – obsession with it currently

  • we have the ability to create the real affect
  • we can make archival prints

Digital photo of a rose

  • no value
  • can be replicated

Real Rose

  • worth a small value

Real Rose given to use from someone we care about

  • worth more
  • The story gives it provenance

Physical Photo of Rose

  • worth more
  • permanence
  • not going to die

Physical Photo of Rose – hand printed, hand tones, signed, 1 of 1

  • worth drastically more
  • original
  • unique
  • permanence and not going to be replicated

The Digital Repli(can’t) 

Skeuomorphism

  • When the car was invented it wasn’t called a car it was called a horseless carriage
  • Because we understood it in the context of the previous thing we understood
  • A digital book that is made to look like a real book online is more relatable because we understand the physical artefact counterpart.
  • This is Skeuomorphism

What does digital do well?

  • Accessibility
  • cost
  • distribution
  • information
  • layers
  • networks

We don’t try and make ‘versions’ in the other world

We try and utilise both worlds for our work

Digital Exhibition

Kurtis Mann

Even our #Picbod Google+ group is a digital exhibition: but it is nothing in comparison to physically being in the lessons.

 

‘Why’ is more important that ‘How’ 

Don’t just make a picture and then stick a digital copy on the web gallery: that would be a poor use of the digital medium

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