I Used to Hate Math (One of Three)

I Used to Hate Math (one of three).

 

Black and white darkroom photography from about 10 years ago, recontextualized in the most painful and obtuse ways possible. Things have changed.

 

EX01: Force Analysis:

Identify the forces present in the conditions depicted below. Consider drafting a free -body diagram to assist in your analysis. Please show your work- you will be graded based upon the completeness of your solution and on how much the instructor likes you.

 

Selective Memory.

I’m sure that I am not remembering any of this correctly, although that’s probably not the point, as the effort degradates both the image and its object, as this too will be fodder for future selective misinterpretation.

 

Woodbridge Filler

With Vanessa Miller and Alisyn Malek

OG Node Southfacing

See the resemblance?

Tetanus Sconces

 
SCONCE being, of course, "Steel and Concrete Options for Nonclassical Candle Emulators", and Tetanus being easily treated by proper immunization or post-exposure prophylaxis, The Tetanus Sconce series offers none of the conveniences of modern architectural lighting with a 2 week production lead time. Offered in three models- The Archibald, The Clarisse, and the Flipper.

 

 

Barn [Face] Raisin'

Knee Slappin' Ruckus (Between Cedar and Plinth)

Placemaking with Oversized Stickers

A necessary exercise in branding, installation volume expansion, and adhesives.

Age and Orientation

While exposure may exhibit age, shadow may beget color:

From Actor to Director

From "Opie" to A Beautiful Mind.
From "Blondie" To Envictus.
From Citizen Kane to "Mrs. Buckley's Frozen Peas".


Scratch that last one.

Facilitating Alcoholism

The Craftsman Enabler, coming to PBS this fall. 
Thanks to Dewey, his obsolete decimal system, and the artifacts thereof.

 

A Photo Of Alisyn.

...

 Credit to Richard Chase.

Planning Studies

A Micro Brewery and a Garden. For for when things get too real.

Transference of Follies/ Landscapes of Enjoyment

 
The ‘original’ garden folly (if there can be such a thing), as an emblem of opulence, ‘preserved’ historic cultural icons for selective whimsical enjoyment.  Their transference from native context onto alien landscape altered the meaning of these edifices, stripping them of history proper and transforming them into pure icons- and eventually, from a contemporary vantage, into icons of icons. 
 
While destructive from an anthropological- record keeping standpoint (do we remember the original, or do we remember the memory of the original?) there is also value in the development of intentional icons. They are homages to our fascination with the past and the distant, to our futile attempts to resurrect and to hold an entire culture and era in our backyards, and, yes to revisionism for the sake of convenience and value alignment.
 
Timing, of course, is everything in the effective transference of icons onto landscapes of enjoyment. Too soon, the object has no nostalgic weight- Too long, and the object is too mysterious and misunderstood. For contemporary purposes, we may appropriate the ‘vintage’ or ‘retro’ practice here to understand and maximize impact and value- Say 30 to 60 years.
 
So, In an effort to ensure the perpetuity of this practice, to ensure that icons will continue to be established, changed, re-(or mis-) appropriated for the above reasons, I introduce the following icons for garden folly schema: