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“Control Headquarters” doesn't exist! However, this building I photographed does! Image editing consisted of converting to black and white, dodging, burning and levels adjustments.
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Full Artist's Statement
For me “Control Headquarters” is a representation of a mythical man made structure where the agents of Control work against the forces of Chaos. It is a digital photo of an actual architectural structure in my home town, Perth. Image editing consisted of converting to black and white, dodging, burning and levels adjustments.
Thanks to the television series “Get Smart” with agents 86 and 99 for inspiring the title. The image reminds me of the elaborate entry into Control Headquarters that agent 86 had go through at the start of each show.
There is nothing organic or random about the structure. It’s constructed entirely of man made building materials. It’s a totally controlled environment.
Down in the bowels of this structure is a door to an office. The light is on.
But is it a case of “The light is on but nobody’s home!” ?
Does Control Headquarters really exist? Does Control exist?
Despite all our supposed intelligence, technological creations, and maturity my life experience has shown me that we (human beings) have very little control over our lives even when it may appear otherwise. Seemingly random events can quickly turn our lives into turmoil.
I assert that control does not exist and that we would all do better to stop chasing the dream of control. Let’s face it if we ever got to a point of total control it would probably bore us to death. We need to be more embracing of change and the randomness of life to cope better with all that this chaotic life throws at us.
At an exhibition of this work a fellow photographic artist Louise Mann also of Perth remarked to me that she loved the “7” in the work. I had not intentionally sort to create a number within the structure and hadn’t seen it. Initially very surprised I hadn’t seen it then very annoyed because once pointed out I couldn’t stop seeing it.
Damn! I didn't intend people to see 7 but once pointed out it was bleedin’ obvious and I was worried it might detract from the image and spoil the message I was trying to get across with the image. I was hoping the viewer would see an office door with bright light glowing through glass windows above and to the side of the door - the entry to Control Headquarters - where the light is on but nobody is home!
So I asked her what the “7” meant to her. She replied :-
“The '7' in control headquarters is, in my opinion, wonderfully discordant! It’s an odd number so its not generating implied balance, but it’s not as acceptable as '3' nor as tidy as '5'. It leaves me with the question - 'what is the significance of '7'?' This doesn't have to be a question of the photographer's significance, just the significance of it appearing all on its own! Because it’s the lightest part of the image, I'm drawn to it and I'm wanting to work it out - I can't, but I want to - so that gives the image the power of drawing me back to it.”
– Louise Mann, Photographic Artist, in reply email 29 August 2006.
I agree with Louise’s assessment of the 7 as wonderfully discordant. Once seen it certainly made me feel uncomfortable and drew me into the image again and again. I also can't work it out.
I think this is because it is one of only a few recognisable elements in the image that a viewer can latch on to make sense of what the image is. The other elements are small and in the shadows so being the brightest element the 7 really leaps out as the recognisable. However after recognising the 7 the viewer can't build on that base to understand what the image is because it is out of context. Leading the viewer to try to disregard the 7 to read the image again. Also the fact that the 7 is separated into 2 parts begs the question is it really a 7? Does the 7 belong in the image? If that's a 7 what is the rest of the image?
This struggle to resolve the ambiguity of the image and find something recognisable and solid to grab onto ties back beautifully into the title and theme of the work "Control Headquarters". I think that resolving the ambiguity is our first reaction to control our lives. Recognising what we see (our environment), categorising it, and taking appropriate action allows us to avoid harm and feel safe and secure.
The strong geometry and other recognisable elements in the image along with the fact that is a photo of a real world subject give enough clues to what the image is of that a viewer can't automatically categorise it as "Abstract" and happily move on to the next image. They will try to work out what it is to control it.
By dodging the 7 to absolute white (or just about) to create the window effect I was after I have really introduced a new element into the image which is out of context and discordant. Being the brightest part it draws the viewers attention to it however because it is very small the rest of the image actually manages to compete with it for the viewers attention.
The importance the eye wants to attribute to the 7 just because it is the brightest part of the image is discordant with the amount of real estate it occupies on the paper. I think our brain recognises that discordance and logically looks to analyse the rest of the image to make sense of it but our eye keeps getting drawn back to the highlight 7.
I am very pleased with this result as this quandary certainly adds considerable depth and impact to an image that started out as a study of geometry and a play of light.
- Mike Wishart
Artist / Photographer
23 February 2007
Please click here to see a show of my Top 10 images
Click PIP Perth flickrwalk to view my lastest online Exhibition on a lovely black background without distractions.
Sign denoting a "Drinking Control Area" in Southend-on-Sea, England. This does not seem like a fun area.
Pieter Trogh, Scientific Collaborator, Research Center of In Flanders Fields Museum, speaks during the first panel, 'A Century of Chemical Warfare and Arms Control.'
In honor of Jonathan Tucker, a former member of the Arms Control Association Board of Directors and leading biological and chemical weapons expert who passed away in 2011, the Arms Control Association hosted the first Jonathan Tucker Conference on Chemical and Biological Arms Control.
The Tucker Conference is designed to raise attention on the risks and challenges posed by these indiscriminate weapons and explore effective strategies to verifiably eliminate them.
The conference recognized the 100th anniversary of the use of chemical weapons in the trenches of WWI and discuss the recent mission by the Organisation for the Prohibition of Chemical Weapons and United Nations to rid Syria of its chemical weapon stockpiles and facilities.
Photo credit: Jackie Barrientes/Arms Control Association
Because of the greyness of it all the controls didn't stand out a lot. Light gray was too light so I used the metal chassis of Micro cars and hubcaps,which are usually chromed but also exist in this not-so-shiny version. The controls are not very accurate but I think the general idea is there.
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Discovered this hiding in storage. Mint-condition, circa-1968, Konica Autoreflex T1. The first camera with fully automatic exposure control and metering TTL. Funny thing is that this uses two mercury oxyde batteries for the light meter, which are not manufactured anymore. Alkaline batteries of the same size (LR44) cause wrong meter readings because of different voltages.
The finest 57mm lens ever made! Takes 62mm filters and weighs 16 ounces. Shame I won't be using it on my Nikon :P
Buscando por Internet algunas propuestas que ayuden a discernir el tema sobre control o mandos de consolas de videojuegos para discapacitados, encontré un website donde el autor propone adaptaciones a controles y consolas completas para un disfrute de los videojuegos por parte de las personas con discapacidad.
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Controlled Chaos
In chaos theory, control of chaos is based on the fact that any chaotic attractor contains an infinite number of unstable periodic orbits. Chaotic dynamics then consists of a motion where the system state moves in the neighborhood of one of these orbits for a while, then falls close to a different unstable periodic orbit where it remains for a limited time, and so forth. This results in a complicated and unpredictable wandering over longer periods of time.
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Researchers conducted swim tests on Gulf of Mexico Cobia fish to investigate potential impacts from oil exposure. Compared to control fish, oil-exposed fish had a 36% lower stroke rate (volume of blood pumped per heart beat) and a 18% higher resting heart rate. The increased heart rate may have helped to maintain cardiac output and compensate for decreased stoke volume. As exercise increased, oil-exposed Cobia experienced lower stroke volumes, likely from weaker heart contractions, compared to controls. As oil-exposed fish approached maximum swim speed, their heart rates did not increase as much as controls (36% vs 61% increase, respectively) and they experienced 12% lower oxygen consumption and metabolic rate than control fish. The maximum swim speed of oil-exposed cobia was 22% slower than control fish, which could affect their ability to capture food and escape predation. The researchers published their findings in Comparative Biochemistry and Physiology Part C: Toxicology & Pharmacology: Cardio-respiratory function during exercise in the cobia, Rachycentron canadum: The impact of crude oil exposure.
Photo Caption: University of North Texas Associate Professor of Biology Dane Crossley (white shirt) and his graduate student Derek Nelson (a GoMRI Scholar) review cardiovascular data of oil-exposed early-life-stage fish.
Photo Credit: Daniel DiNicola, RECOVER consortium.
Read More: gulfresearchinitiative.org/study-finds-oil-exposure-reduc...
Fort A.P. Hill begins spring controlled burns
The Terra Torch shoots a jet of jelled fuel to start a fire during today's controlled burn.
Today’s crews used the Terra Torch, a gel-fuel ignition system that shoots a thickened mixture of gasoline, diesel and water into an area to start a fire.
Fort A.P. Hill will continue controlled burns for the next several weeks as weather permits.
U.S. Army photo by Bob McElroy
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