This looks stunning:

Exposed
Voyeurism, Surveillance and the Camera
Tate Modern 28 May – 3 October 2010

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I’ll be showing Misrecognition and SplitFlip as part of As We Speak, a Glasgow International 2010 event. Come down to Stereo (Renfield Lane) on Wednesday 28 April at 8pm to see them and other wondeful experimental videos and moving image artworks. So as my other show closes, new works appear in the city. Who said [...]

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An exhibition of work by researchers. Grace and Clark Fyfe Gallery, Scott Street, Glasgow 16-28 April 2010 You are cordially invited to the Private View of the show, which will take place on Friday 16th April, at 6pm.

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I received feedback on my second chapter from my Director of Studies. Very fair and helpful but it filled me with dread in relation to losing the plot and the focus of the thesis. It is more difficult to write a thesis-as-piece-of-work than a thesis report. I know the challenge would be here all along. I have had it pretty easy until now, no data gathering in the conventional sense, no number crunching, no narrative analysis, no conventional, run of the mill method. Because of this, it is not, at the time of analysis and evaluation that I am finding it difficult. What I do requires a lot of thinking and a lot of looking because it is evanescence. It disappears in my hands as I write. Then, at times, it also surprises me.

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The Deutsche Börse Photography Prize is being announced tomorrow and, as always, there are a couple of really exciting entries. Shortlisted artists are British Paul Graham, Saudi Arabian Emily Jacir and Americans Tod Papageorge and Taryn Simon. My money is on Paul Graham, of course, fan as I am, but I have to say that

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I had a retail impulse and went for the Nikon D40. A strange choice, as this camera was not in any of the shortlists, but, in hindsight, it makes sense. I do not want whatever piece of kit I buy for my photography work to end up like my video camera, having not seen the day of light for about 3 years now. And when I bought it, I went as top of the range I could. What for? SO, with the D40, I bought time to test my commitment to digital photography. It is the right machine for that, lightweight and entry level, so I have no excuses to take it out everywhere.

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The first realisation I had during my PhD was the fact that what I was looking for, the objects of seduction I longed for, were already out there. I did not need to spend unfruitful hours trying to re-create, imitate what industrialization, and capitalism had already achieved. To compete, in terms of seduction, what I had to devise was a way to capture the relationship, to apprehend what was going on, to replicate it in order to study it in depth. Photography was my discovery.

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The talk at MFIT went very well. I realised afterwards that this is the very first time I have talked about seduction without any of the padding that you usually have to put together for conferences, in order to fit into the overall theme. I confronted seduction in a public way for the first time, and it was fantastic. I was motivated, enlivened by the subject and its curious manifestations, by its contradictions, by the philosophies that try to study it.

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There is a genre called psychoanalytic fiction and I have recently read two examples. The first one was Jed Rubenfeld’s The interpretation of murder; the second Brenda Webster’s Vienna Triangle. These two are as far apart as the category of genre allows.

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