Life, Love and Death: The work of Adam Fuss
Peanut butter and jelly, a common combination of two separate entities, most people have heard of this duo, many enjoy it, but only one manufacturer packaged them together in a handy snack. Much like the tasty treat that is Goobers is the tasty duo of Adam Fuss and Roland Barthes. Two separate men, Adam Fuss and Roland Barthes put together in one reading, complementing and accentuating each other. Fuss and Barthes, they share an interest in photography, they share an interest in the foundation and principles of photography, more over they share an interest in photography that is deeply personal. Fuss takes the camera out of photography. Barthes takes photography out of art. Both men want to get to the essence of what a photograph is, one by thinking and writing about it and one by doing it. In this paper I will show how Adam Fuss’ work matches up with and demonstrates the ideas of Barthes’ in Camera Lucida. I will look at one body of work at a time and show which parts of Barthes’ ideas are present in the work, in its creation and its theory. I will start with his first professional body of work, move through to his most recent work and then look back to some of his childhood pictures. Whether Barthes' ideas actually influenced Fuss’ work I am not sure of, I have not found any text or interview that leads me to believe that it is, however I would not be surprised if it has.
Camera Lucida was Roland Barthes’ last written piece, published posthumously in 1980. This book deals with the topic of photography and the death of Barthes’ mother in 1977. The role of photography is questioned; he asks what about photography makes it a valid media? We read about the operator (the photographer), spectrum (the subject) and spectator (the viewer), also about the studium (what we see in the photograph) and the punctum (the unclassifiable, the thing that makes the photograph important to the viewer). According to Barthes the photograph is an adventure for the viewer, but it is ultimately death, the recording of something that will be dead after the picture is taken. This idea is the main focus of Barthes’ writing, the photograph “that-has-been”, in Latin “interfuit: what I see has been here, in this place which extends between infinity and the subject; it has been here, and yet immediately separated; it has been absolutely, irref...
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...warns us about, by using it to document ideas and cause and effect. Barthes also warns us about color, but Fuss uses color judiciously and naturally in his work. Whether Barthes' ideas actually influenced Fuss’ work I am not sure of, however the similarities and differences between both men’s work suggest that Fuss has indeed been either directly or indirectly influenced by Roland Barthes’ Camera Obscura.
Bibliography
Allen, G. (2003). Roland Barthes. London: Routledge.
Barthes, R. (1981). Camera lucida: Reflections on photograph (R. Howard, Trans.).
New York: Hill and Wang. (Original work published 1980)
Bleckner, R. (1992). Adam Fuss. In Betsy Sussler (Ed.), Bomb speak art!: The best of Bomb magazine’s interviews with artists (pp. 98-106). Australia: G+B Arts International.
Crump, J. (1997). Visceral photography: The work of Adam Fuss. Afterimage, 25(1).
Retrieved on 10/11/2004 from EBSCOhost database.
Fuss, A. (1997). Adam Fuss: Essay by Eugenia Parry. Santa Fe, NM: Arena Editions.
Kellein, T. (2003). Adam Fuss. New York: Distributed Art Publishers, Inc.
Sand, M. (1993). Adam Fuss. In Aperture: On location (pp. 44-53). New York: Aperture
Foundation, Inc.
Once the recombinant plasmid was obtained, it was then inserted into E. coli cells through transformation. From a successful transformation, we expected the bacterial cells to translate the inserted EGFP sequence into its protein form. The bacteria cultures were plated on petri dishes containing growth supplement, Luria Broth (LB), an antibiotic: Kanamycin, and IPTG which induced the fluorescence property within successfully transformed bacterial colonies. Different variants of the petri dishes were also included as control and unknown.
...et light. If the LAA plate glows green under exposure to ultraviolet light, then we can conclude that our unknown insert piece of DNA would be the kan gene. If it does not glow green under exposure to ultraviolet light, then then we streak the colony from our LAA plate onto the LAC plate using a sterile glass spreader. When the LAC plate is dray, we place it upside down in the microfuge rack so that it can be incubated at 37 ºC. Incubation at 37 ºC will allow the transformed bacterial cells to grow. If we see bacterial growth on the LA plate containing chloramphenicol, we can conclude that our unknown insert piece of DNA would be the cat gene, since the cat gene is resistant to chloramphenicol. Afterwards, we then grab the microfuge tube labeled NP and repeat the aforementioned steps shown above pertaining to the LA plates. This would be considered our control.
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...o find a balance between interventional and non-interventional birth. With this being said, I also understand that there are strict policies and protocols set in place, which I must abide to as a healthcare provider, in any birth setting. Unfortunately, these guidelines can be abused. Christiane Northrup, MD, a well recognized and respected obstetrician-gynecologist has gone as far as to tell her own daughters that they should not give birth in a hospital setting, with the safest place being home (Block, 2007, p. xxiii). Although I am not entirely against hospital births, I am a firm believe that normal, healthy pregnancies should be fully permissible to all midwives. However, high-risk pregnancies and births must remain the responsibility of skilled obstetricians. My heart’s desire is to do what is ultimately in the best interest of the mother, and her unborn child.
Since the early to mid 90’s, hip-hop has undergone changes that purists would consider degenerating to its culture. At the root of these changes is what has been called “commercial hip-hop". Commercial hip-hop has deteriorated what so many emcees in the 80’s tried to build- a culture of music, dance, creativity, and artistry that would give people not only something to bob their head to, but also an avenue to express themselves and deliver a positive message to their surroundings.
This trend also found roots in the emergence of photographic technology, originally developed in the early 1800’s and advanced continuously until the present. During this time, artists and photographers suddenly found that they could much more easily captur...
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Cord clamping has long been practiced to occur immediately after birth of a neonate. There is much discussion and evidence based practice that shows improvements to health when we delay the clamping and cutting of the umbilical cord. Delayed clamping allows for more nutrient rich blood to flow to the infant’s body, which is going through shock at birth. Early clamping is generally done between 10 seconds after expulsion of the fetus to one minute , whereas delayed clamping ranges from two minutes until the cord finishes pulsating. The research collected will analyze early clamping and delayed clamping to see which practice is found to be healthier for mother and child.
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A single outdoor company has nearly revolutionized the way some camp, hike, fish, tailgate, or just hang around with friends. Raw sales of top of the line, durable coolers, cups, tumblers, and bags have had a 3 year growth rate of 748%, and now sits on over 450 million dollars in revenue (Saporito, 2016). How did two brothers from Austin, Texas manage to grow a small startup into one of the top retail suppliers of durable outdoor accessories? More surprisingly, how did this company manage to market this product, create a “cult” like following, and create a whole new niche in the marketplace?
John Mahtesian's photography offers a visual poetry of the human condition. It is a direct expression of his warmth, depth of spirit, and humanity. A true gentleman, extremely humble and unfailingly polite, he achieves an invisibility that is the success of his art. His patience and commitment to his vision allow him to capture moments others could not. If his subjects are aware of his presence, his gentle nature so enchants them that they are unguarded and their essence is revealed. So compelling are his images that we are truly convinced his insights are our own. They make us rejoice in the world around us, and in the nature of human existence.
Roland Barthes, Camera Lucida, explores the stream of consciousness Barthes experiences when viewing his Winter Garden photo. The photo depicts his mother as a child and how Barthes decides to handle the understanding of this image. For this essay my Winter Garden photo will be titled The Father. This essay will be an attempt to work through the ideas and vocabulary used by Barthes in understanding his own photo.
King Lear is a play about loyalty. "Goodness" is portrayed by the characters as selflessness. Each "good" character displays loyalty through selfless actions. Cordelia selflessly does not attempt to rob Lear of his wealth by flattering him. Even though she risks banishment, she selflessly refuses to indulge her father's foolish wishes. Edgar, too, is selfless in his actions by leading his father to safety even when he knows Gloucester does not recognize him and will not appreciate that he was, in fact, the truly loyal son. Finally, Kent, Lear's Selfless servant, risks his life to protect his king even after he has been mistreated.
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