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planet

This is mind-boggling. But perhaps not surprising. It’s another very large leap in AI/robotics/super-computing.

At Google, Tobias Weyand and his team have trained a deep-learning machine to work out the location of almost any photo using only the photo; only the pixels it contains.

They fed the neural network–which they’ve named PlaNet–126 million images along with their accompanying Exif location data. Based upon that info, when fed a new image, PlaNet analyses visual clues (buildings, topography, vegetation, weather, etc) to determine the most probable location.

“PlaNet is able to localize 3.6% of the images at street-level accuracy and 10.1% at city-level accuracy,” say Weyand and co. What’s more, the machine determines the country of origin in a further 28.4% of the photos and the continent in 48% of them.

So that’s 3 in every 100 PlaNet puts right at the front door. 1 in 10, it knows the city, and in over a quarter the neural network correctly identifies the country. Impressive.

What’s the future looking like? For the first time, I’m really fretting over the strength of the global human community to make the right–and ever-recurring–decisions on the ethics and control of AI. After a computer beat the world’s best Go player this month, the making of AlphaGo (another Google project) warned against hasty application of AI technologies. Stephen Hawking has been erring caution for decades. AI is still is a long way from applying learning from one system to another so we needn’t worry about self-driving cars learning to control markets or journalism robots changing careers and taking the reigns of power.

But who’s to say that in a few decades, you won’t be able to connect the automated detection of news events in, say, social media, to trigger the dispatch of drones pre-programmed to make photos (behind police tape/above breaking stories/inside toxic environs)? Then the images are sent images to the systems of robot journalists which in turn publish a story in a template. Possible? Maybe. Fine-tune the identifying capacity of PlaNet and you’ve accurate captioning info enough to furnish a news agency … and dispose of the photojournalist!?!

Such a scenario would take care of breaking news, but I’ll still wager on humans, not robots, to fashion the long-form documentary projects. Hell, by then, documentary photography stories might be one of the few things left connecting us!

Thanks Robert Gumpert for the tip off

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It is every artist, collector or photographer’s dream; the discovery of an archive of thousands of negatives. For artist and professor Nigel Poor, it became a reality. In late 2012, she was making a routine visit to Lt. Sam Robinson’s office in San Quentin State Prison. She’d just finished teaching her class in photo-history and collaborating on image interpretation project with her incarcerated students. Knowing her life in the medium, Robinson pulled out a bankers box.

“He lifted the lid,” recalls Poor. “Inside were hundreds of yellow envelopes that I recognized instantly as those which hold 4×5 photo negatives.”

Poor’s heart “exploded.” More than three years on, Poor has only just finished going through all the negs: she estimates there’s more than 10,000.

Nigel Poor San Quentin

In the weeks, after the discovery, Poor took some negatives and scanned them. She showed the prints to Robinson to prove what she could do and he gave her permission to take the entire box. So far, she’s scanned about 600 of the 4×5 negs. There’s four or five other boxes still to scan and categorize.

I anticipate that there’s hundreds of similar archives gathering dust inside cupboards and administration buildings in prisons across the United States. Kudos to the San Quentin authority for empowering Poor to share the finds with a wider public. The archive ultimately belongs, in my opinion in a California State-run Museum.

Nigel Poor San Quentin

Nigel Poor San Quentin

Nigel Poor San Quentin

The other wonderful thing that has come out of this is that Poor is using the images as teaching aids. Just as she had done with iconic images from art history (see the William Eggleston, Lee Friedlander and David Hilliard images above), Poor asked her students to deconstruct, examine and interpret the newly-found images from the San Quentin archive. After she had scanned and printed them on card-stock with large white borders, Poor gave them to the men to interpret.

She has given the prisoners first go at interpreting San Quentin’s history. They are writing the latest stories of a very-storied institution.

Read my article about the archive discovery Rarely Seen Images of the Real San Quentin on the Marshall Project. The article was also cross-posted to The Atlantic — Unearthing San Quentin: Resurrected photos capture moments of daily life at the California prison.

Nigel Poor San Quentin

Nigel Poor San Quentin

Nigel Poor San Quentin

Nigel Poor San Quentin

03_Holidays _ Ceremonies

07_Work _ Leisure

04_Education, Food _ Health

01_Escape _ Confinement

09_Family Visits

HERE NOW: Digital Stories from the San Francisco

In December, I was a guest at San Bruno Jail, near San Francisco, for morning of screenings of HERE NOW: Digital Stories from the San Francisco Jails. The 18 film-shorts were made inside San Bruno Jail drawing on both the drama therapy expertise of  the University of San Francisco’s Performing Arts and Social Justice Department and the community media skills of the Bay Area Video Coalition (BAVC).

The Resolve to Stop the Violence Project (RSVP)a longstanding collaboration Community Works and the San Francisco Sheriff’s Department with programs inside the numerous San Francisco County Jail system–hosted the 12-week course and that inaugural  screening.

Tomorrow, January 27th, a screening of HERE NOW will be held for the public. It’ll be at Noh Space which is in the Potrero Hill neighbourhood of San Francisco, specifically at 2840 Mariposa St (b/t Florida St & Alabama St), SF, CA 94110. The screening will include a panel discussion with restorative justice practitioners and members of the project.

Full details about the HERE NOW screening event.

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Full details about the HERE NOW screening event.

Within the confines of one of San Bruno’s jail pods, the 20-or-so prisoners made use of every space, surface and angle to visualise their stories. The “digital stories” they developed include percussion, spoken word, movement, writing, and visual imagery. There’s some large leaps of faith to be made here. Firstly, the men must be comfortable sharing personal tales, then they must be willing to process them with a group, firstly and for a general public audience latterly.

“The men came in with strong visual concepts and artistic choices and we followed them as they were the directors for each of their stories. I approached each production as a camera operator and followed their carefully crafted shot list,” says Kristian Melom, one of the facilitators with BAVC and HERE NOW.

Furthermore, not being experts, the prisoners handed over some control of the editing and sequencing. At least those bits that they couldn’t master on their successful, short and steep learning curves!

“In the editing process, the students from each of the classes worked together and essentially learned digital film editing as they collaboratively made these pieces. It was really inspiring to see how much can happen in the edit when you have very little recording time allowed and lots of improvisation is needed,” says Melom. “We had a blast.”

Full details about the HERE NOW screening event.

MY FAVOURITES

In advance of tomorrow screening, I wanted to share a handful of notable videos.

In Motivation Through Life’s Struggles, J. Howard organizes the loneliest dinner party. One at which photographs of his loved ones substitute for the persons themselves. A lone 4×6 print on each seat.

You don’t even see Delon Barker’s face in Where I Grew Up, which is a clever tool because it makes his powerful story–about knowing where a hidden gun was and using it at the age of 5–all the more powerful.

“Where I grew up, I was taught to be bad and fight everyone.”

JDJ’s ode to his daughter simultaneously shares his joyful memories of her earliest words but also the pain of being apart. All this plays out to a video track composed of dozens of portraits of her.

June’s Baby Skee is the comic turn of the bunch. June recounts the first time he was charged with changing a diaper.

Testimony Of A Moth is Jack MacLennan’s space to reflect upon, and reenact, a moment he was the victim of gun violence. But also in that moment he reflexively protected those close to him, by literally putting his body on the line. How conflicting to find pride amidst violence. This is a reconciliation of those contradicting emotional memories.

I Kill Time is a bittersweet look back at, well … it’s your guess. Is this a clear metaphor for drug selling? Or is that a presumption? Either way, Vinnie was adamant from the very start that the 2 minutes would be played backward, meaning that action were acted out in reverse. Killing time? He’s playing with time. Very effective and a little disconcerting. Great soundtrack too.

The participants made four short interludes to sit in the middle and at each end of HERE NOW. These four shorts make use of the most expansive cinematography, song and percussion. They’re also the moment that most participants are actors in a single reel.

Full details about the HERE NOW screening event.

I spent last Friday inside the walls of San Quentin State Prison watching the presentations of TEDxSan Quentin. Most talks were by prisoners and almost all were moving, reasoned, hard-hitting. It reminded me, once more, of the incredible intellect of men, women and children inside America’s prisons. It made me think again of how foolish we are as a society to waste talent, ignore positive contributions and crush lives through our addiction to incarceration.

Arthur Longworth was not at that TEDx; he is imprisoned not at San Quentin, but at Monroe Correctional Complex near Seattle. Nor did Longworth make the presentation (above) at a TED event. While Monroe has had its own TEDx event, the prisoners own Concerned Lifers Organization (CLO) has been hosting an annual conference for longer.

Longworth’s talk Mass Drownings at the 2015 CLO Conference is an eloquent, 18-minute-long metaphor of the prison industrial complex as the ocean. Longworth was sentenced to Life Without Parole (LWOP) meaning he has for the past 30-some-years lived behind bars knowing he’d never get out from them. This is a special-type of torture reserved for he and tens of thousands of other Americans. Longworth has witnessed more and more people tossed into the ocean and describes the cruelty of hope.

“This news that people outside of the ocean are actually talking about what’s happening in it spreads across the water in the form of hope. A piece of which you reach out and grab on to. Your instinct isn’t to hold on because by this time you’ve been in the water so long and you don’t know what hope is. But when you try to let go you discover that you can’t bring yourself to do it because this thing you’ve grabbed on to is warm and buoyant. For the first time since you were put into the ocean you cease to shiver and you feel like there might be something to swim toward.”

It’s here that our relationship with those on the inside comes into sharp focus. Politicized prisoners know that there’s a major shift in public attitudes. They are working, too, to help in the balanced and restorative debate we have ackowledged we need. Recognising there’s a problem is the easy part; we need to find the solutions. We need to meet these mens’ hopes. We need to replace a bloated and cruel, cruel system with humanity.

I watched this video for the first time in the wee hours of Thursday, 14th January. I was due that afternoon to open Prison Obscura at Evergreen State College. I have presented so many times on Prison Obscura and the ideas around it that it’s hard not to feel jaded at times. Sometimes, I go into auto-pilot. But, just because I have communicated things multiple times doesn’t make the human rights abuses to which they respond any less urgent.

I had the pleasure of speaking with Longworth several times during my role as a teacher with the University Beyond Bars at Monroe (2009-2011). We never spent any time in the classroom together. He had no use for the art classes I taught and it was not feasible for me to take his Spanish lessons! Arthur Longworth is a brilliant mind and an inspired leader. From within a system that has abandoned its moral compass he has maintained his own. Somehow.

Longworth bristles with controlled fury and a nailed-on sense of injustice. He can’t fathom why a society might throw people away so readily. Then he recalls the monarchy system from which the United States emerged. Kings used to condemn men by decree without ever seeing their faces. Only high and mighty arrogance could enact such disregard.

Mass Drownings reduced me to tears. I also felt shame; shame that I’d got lazy, on occasion, with the presentation of Prison Obscura. The show remains on the walls of Evergreen State College through March 2nd, but I am inclined to tell Washingtonians to watch Arthur Longworth before they seek out any online video about Prison Obscura. Longworth’s argument, grace and dignity are why the fight against mass incarceration must continue. His words carry more meaning and weight than any I, or any other outside activist for that matter, could ever.

Of course, to people familiar with prison literature, this is no surprise. Longworth won the PEN Center ‘Best Prison Memoir’ Prize in 2010. Pulitzer-winning novelist Junot Diaz read Longworth’s Walla Walla IMU, a story about ants in solitary confinement, on stage to a New York crowd. College students nationwide are assigned his works. Last year, The Marshall Project published an essay of his. Longworth has been the feature of Seattle Times and KUOW pieces about LWOP.

Listen to Longworth. Simply put, he’s one of the few remaining persons who talks any sense about a maddening system that condemns hundreds of thousands of men, women and children without ever seeing their faces.

I’M JUST GOING TO GO AHEAD AND CALL THIS CHILD ABUSE

I thought the video above was a fake at first. I thought that it was a satire made by green-screening the kids’ performance onto a backdrop of a Trump Rally. But it’s legitimate and just proves Trump can make our worst nightmares come true.

I can explain the headline by saying that today is Martin Luther King Day and I cannot think that this type of glitzy performance was the type of civic engagement for future generations that King had in mind when he urged a more equitable, caring and empowering society. The girls, an entertainment group named USA Freedom Kids, have been trotted out here by conniving, cynical adults. No-one should deny youngsters their wishes to dance, sing and move their bodies, but no adult should be filling children’s minds, lyrics and identity with partisan and jingoistic rah-rah. Shame on those adults.

Guy Debord is turning in his grave because even he, the infamous contrarian and vitriol-fueled leftie, has a heart. He’d see that the kids are victims here. He’d also identify this performance as the example par excellence of the Spectacle–human existence fully mediated by the image and diffuse within it. Ugh, such young lives crushed by the small-minded political fears of the parents’ generation. Identity squished into a For-Cable-TV skit. Self-esteem pulverized into the shape of a faux-patriotic act that exists for the entertainment of adults and at the expense of the children’s curiosity and development.

Johnson, Reagan and Eisenhower are turning in their graves because they are the presidents that did the most for education in the United States and they, from all sides of the political spectrum, would agree that children being primed for the stage of a racist, misogynist, xenophobic billionaire is child abuse at another order of magnitude. Shame on those adults.

I don’t think I’m getting old or jaded and I don’t think I have less optimism than I did than, say, when I was in my twenties. As best as I can evaluate, though, I think America is losing the plot more and more. Even after Bush Jr., Sarah Palin and the Tea-Partiers, the political intelligence of America continues to plummet. Along with it curiosity. And along with it, often, a sense of decency. Trump is a loathsome package. I take no pleasure from seeing the Republican establishment disrupted when the disruption comes from an arrogant, smarmy, full-of-hate loudmouth. Trump’s reckless disregard is no better summed up by this illustration and this politician’s reason.

Trump is disgusting. His rallies reflect that.

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Photo: Kristen S. Wilkins, from the series Supplication

Bit of housekeeping folks! I need to let you know three things about Prison Obscura:

  1. Prison Obscura is going to Washington State.
  2. Prison Obscura is going to Oregon.
  3. Prison Obscura will be retired in June, 2016.

WASHINGTON

The exhibition opens at Evergreen State College in Olympia Washington this Thursday, January 16th, from 4pm-6pm. I’ll be there giving a curator’s talk.

Evergreen is hosting Prison Obscura as part of Kept Out/Kept In, a series of talks, shows and presentations examining carceral culture.

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Prison Obscura Installation in progress, Evergreen State College.

The show is up January 14 – March 2 at Evergreen Gallery, Library 2204, Evergreen State College, 98505 (Google Map)

OREGON

Between April 1 – May 28, Prison Obscura is on show at Newspace Center for Photography in Portland, Oregon.

Mark your calendars waaaaaaay in advance for the opening reception 6-9pm on Friday, April 1st (no joke). I’ll be in Portland all weekend, giving a curator’s talk at the opening and then convening with others for events and panels.

1632 SE 10th Ave., Portland, OR 97214. (Google Map)

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Supplication #4, Landscape. From the series ’Supplication.’ “The Pryor Mountains. It is so special to me because I am from Pryor and I miss home. Castlerock at sunset.” Photo: Kristen S. Wilkins.

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Supplication #4, Landscape. From the series ’Supplication.’ “The Pryor Mountains. It is so special to me because I am from Pryor and I miss home. Castlerock at sunset.” Photo: Kristen S. Wilkins.

RETIRING ‘PRISON OBSCURA’

To say that the Cantor Fitzgerald Gallery at Haverford had never travelled a show before, they–namely Matthew Callinan–have done a magnificent and utterly-indispensible job in administering Prison Obscura over what will be seven venues.

I didn’t know exactly what was involved in traveling a show such as this and I’m so so grateful that Callinan had the support of his peers at Haverford College to produce an exhibition that could stretch beyond Philadelphia where it all began. We learnt together.

It’s been a great run. After Olympia and Portland though, it’s time to say goodbye. I celebrate Prison Obscura‘s unexpected and gratifying success, but I know that after 2-and-a-half years, it’s time to move energies on to other things. I need to step back and to think about what next, if anything, is appropriate for a prison-based exhibition.

There are massive amounts of vital work and organizing being done around prison activism, policing, power and community-empowerment. I’d like to learn more; take the time to hear and see. Observe and act more; perhaps talk and type less–for a while, at least.

No doubt, I’ll have more to say when Prison Obscura wraps up in Portland, the final show, toward the end of May. For now, I hope that if you are in the Pacific Northwest you’ll be able to check out the show and engage with the ideas its artists propose. Thanks to Alyse EmdurRobert GumpertSteve Davis, Mark Strandquist, Kristen S. Wilkins,  Josh Begley and Paul Rucker and the City of Philadelphia Mural Arts Program and the men of the Restorative Justice Project at Graterford Prison.

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David Wells, Thumb Correctional Facility, Lapeer, Michigan. From the series ‘Prison Landscapes (2005-2011).’ Photo: Anonymous, courtesy of Alyse Emdur.

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Michael Ireland – Springfield, MO

“A cookie-cut subdivision, a mall parking lot, a rural country road. Linking these unremarkable pockets of America, and hundreds of places just as ordinary, is the fact that they’ve all been sites where people were killed by U.S. police officers.”

In my first piece for TIME, I write about Josh Begley‘s project Officer Involved.

Like many of Begley’s previous works, he makes use of third party (activist/research/journalism) data to image a geographically-disparate but nationally-important issue. For Officer Involved he used The Guardian’s data from The Counted.

In 2016, there were 1,138 deaths in which a U.S. law enforcement officers was involved.

Read: Visualizing ‘Officer-Involved’ Deaths Across America

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Talbot Schroeder – Old Bridge Township, NJ
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Donald Matkins – Lucedale, MS
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Alice Brown – San Francisco, CA
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Anthony Purvis – Douglas, GA
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Omarr Jackson – New Orleans, LA
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Ricky Hall – Fort Meade, MD
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Brian Fritze – Glenwood Springs, CO
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Aaron Rutledge – Pineville, LA
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Charly ‘Africa’ Keunang – Los Angeles, CA
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Lionel Young – Landover, MD

If the picture above looks familiar, it might be because you’ve seen press shots of Alcatraz’s blockbuster Ai Weiwei show At Large. Above is a production still from a lesser-known art intervention on Alcatraz; it shows the filming of Well Contested Sites, a choreographed performance for film made by former prisoners.

Before the Weiwei’s dragon a hall’s-worth of (brilliant) lego portraits, the “gallery” spaces of Alcatraz were host to Well Contested Sites a 13-minute dance and theater collaboration between a group of men who were previously incarcerated, performing artists from the Bay Area, choreographer Amie Dowling and film maker Austin Forbord.

The performance and film draw on the experiences and physical memories, or memories of the physical.

“Using a metaphorical, movement-based aesthetic, the film explores the effect of incarceration on individuals and suggests that the imagination can thrive even while the body is behind bars,” says the makers.

 

I know next to nothing about dance, but I was moved to write about Well Contested Sites because it achieves several things, responsibly and simultaneously. Firstly, the sound production and the performances are expertly crafted. The thump of bodies and body parts against the confines of the prison and cells is effective and sometimes nauseous in its sickening repeat. Very powerful.

The clap, the slap, the thok. These are visceral sounds that rattle your chest. Listen to the opening credits of any “gritty” TV show intro (Deadwood, True Detective, Rectify, and many more) from the past decade and you’ll hear these same morose and punching drums and woodblocks. They’re designed to drill you into your seat; they create instant alert and a readiness for drama. It’s just a blessing that Well Contested Sites delivers respite with quieter closure. Interestingly Sister Gertrude Morgan’s folk songs are introduced and they have the same cantor and percussion, but nothing like the earlier oppressive audio.

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Secondly, this is a form of art therapy for the formerly incarcerated. Well Contested Sites represents the highest production that Amie Dowling and her team have brought to a project but they are, regularly, delivering dance and theater classes in San Quentin State Prison and the San Francisco county jail system. What begins inside can continue outside.

Thirdly, and perhaps most significantly,  Well Contested Sites goes beyond a one-off performance. This is the anchor to discussions about mass incarceration and arts role in bettering the lives of men and women inside. The performers and makers have travelled the country (see the Facebook page). It is the starting point for discussion led, in some cases, by formerly incarcerated individuals to educate the public. Now there’s many projects that attempt and achieve that but some are more successful than others. The most successful projects are those that grip audiences attentions by confounding expectations, by showing them something truly different.

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Like I said, I don;t know a lot about dance, but I know a fair bit about prisons and it’s a rare and special thing to craft a professional performance as that we see in Well Contested Sites.

I asked Amie recently to share the new projects she was working on and she sent over Peter Merts‘ photos of a November 2015 performance of Faultline, by the Artistic Ensemble at San Quentin Prison.The Artistic Ensemble is a rigorous, creative group that explores personal narratives and their experiences with systemic forces of poverty, violence, power, and incarceration.

Current Artistic Ensemble members include: Adnan Khan, Anouthinh “Choy” Pangthong, Antwan “Banks” William, Belize Villafranco, Chris Marshall, Sr., Eric Lowery AKA Mike Lowery, Gary Harrell, Gino Sevacos, Ira Perry, Julian Glenn Padgett (Luke), Juancito, Lawrence Pela, Le’Mar “Maverick” Harrison, Maurice “Reese” Reed, Neiland Franks, Nythell “Nate” Collins, Richie Morris, Rodney (RC) Capell, Rauch Draper, Upumoni S. Ama, Sebastian Alvarez, Amie Dowling and Freddy Gutierrez.

It seems to me that these photos confound expectations; they open up new possibilities for how we envision prisoners. The physical contact involved in choreographed movement is coordinated, mutual and supportive. This type of organisation of bodies in space in this prison chapel doubling as stage demonstrates the vulnerability, the bonds and the daring of men who contemporary society has all but condemned to cruel and unusual existence. But here they are, showing up and announcing themselves. And here’s me, respecting that greatly.

I need to go and learn more about dance. Perhaps the folks at Well Contested Sites can help me with that?

choi leap #1

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