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My mould for my cast, I don't know where the worms came from maybe from thoughts on the crypt and decaying things eaten by bugs. I make marks first on the inside with my stone, nice round makes but almost in a pattern like the marks on my favourite red stone

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This stone is not only gorgeous in colour but it is so many things together. The edible rocky top like a layer of chocolate, the red cave painting going through it and lastly it has areas that look more modern in time the green and white with the almost grafick black marks!

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a close up of marks made by wrapping paper around the rock then unfolding and drawing in where the creases were.

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Drawing of my rock made in oil pastels from each side view this was quite difficult matching the shapes of the sides of the rock having been drawn around first to the side to colour.

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I then traced the original image onto tracing paper with different thickness of ink in brown and black and layered this onto the other image. This continues on from my thoughts on time and layers made like sedimentary rocks but then I thought it was not so linear, linear being a method only.

Other ideas relating to images - Line is man made- colour and texture are natural.

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We went to see this at the Turner Gallery

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We went to see this at the Turner Gallery

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I like the title it was very apt for the display. The first gallery was all eerie pictures then the rest was various dystopian films about the future which were stunning.

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This was the first work I was drawn to its connection to play magic and Disney.

Alladin Sane, magic in a match box all quite black thoughts underneath. This for me was the beginning of the painting, although we all agreed the painting were not good or nice I stood up for my theory that it was deliberate by the artist but sadly after looking at his practice this was not the case but maybe the director had chosen the artist as he had seen what I had seen in his work a dark, reflection and critique of society even if he did not know it !

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This had all for me connected to the thoughts I had been thinking on Lathams time base theory, where he says objects are just but events make time. I then started to think about if this were the case is that why we strive for the famous event ! This made me think about tik toc and the modern media of celebrity culture were they just trying to create events but real events had disappered into obsolete depth, but one here needs firstly to clarify the event as opposed to object.

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Over the week I have been reading his thesis on symbols and signs, he claims that our current society has replaced all reality and meaning with symbols and signs and that human experience is a simulation of reality! What I understand I adore.

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Jean Baudrillard ( BOHD-rih-yar, BOHD-ree-AR , French: [ʒɑ̃bodʁijaʁ]; 27 July 1929 - 6 March 2007) was a French sociologist, philosopher and poet with interest in cultural studies. He is best known for his analyses of media, contemporary culture, and technological communication, as well as his formulation of concepts such as hyperreality. Baudrillard wrote about diverse subjects, including consumerism, critique of economy, social history, aesthetics, Western foreign policy, and popular culture. Among his most well-known works are Seduction (1978), Simulacra and Simulation (1981), The Gulf War Did Not Take Place (1991). His work is frequently associated with America (1986), and postmodernism and specifically post-structuralism. Nevertheless, Baudrillard had also opposed post-structuralism and had distanced himself from postmodernism.

Baudrillard was born in Reims, northeastern France, on 27 July 1929. His grandparents were farm workers and his father a gendarme. During high school (at the Lycée at Reims), he became aware of 'pataphysics via philosophy professor Emmanuel Peillet, which is said to be crucial for understanding Baudrillard's later thought. He became the first of his family to attend university when he moved to Paris to attend the Sorbonne. There he studied German language and literature, which led him to begin teaching the subject at several different lycées, both Parisian and provincial, from 1960 until 1966.

While teaching, Baudrillard began to publish reviews of literature and translated the works of such authors as Peter Weiss, Bertolt Brecht, Karl Marx, Friedrich Engels, and Wilhelm Emil Mühlmann.

While teaching German, Baudrillard began to transfer to sociology, eventually completing and publishing in 1968 his doctoral thesis Le Système des Objets (The System of Objects) under the dissertation committee of Henri Lefebvre, Roland Barthes, and Pierre Bourdieu. Subsequently, he began teaching Sociology at the Paris X Nanterre, a university campus just outside Paris which would become heavily involved in the events of May 1968.: 2(Introduction)  During this time, Baudrillard worked closely with Philosopher Humphrey De Battenburge, who described Baudrillard as a "visionary". At Nanterre he took up a position as Maître Assistant (Assistant Professor), then Maître de Conférences (Associate Professor), eventually becoming a professor after completing his accreditation, L'Autre par lui-même ( The Other by Himself).

In 1970, Baudrillard made the first of his many trips to the United States ( Aspen, Colorado), and in 1973, the first of several trips to Kyoto, Japan. He was given his first camera in 1981 in Japan, which led to him becoming a photographer.

In 1986 he moved to IRIS (Institut de Recherche et d'Information Socio-Économique) at the Université de Paris-IX Dauphine, where he spent the latter part of his teaching career. During this time he had begun to move away from sociology as a discipline (particularly in its "classical" form), and, after ceasing to teach full-time, he rarely identified himself with any particular discipline, although he remained linked to academia. During the 1980s and 1990s his books had gained a wide audience, and in his last years he became, to an extent, an intellectual celebrity, being published often in the French- and English-speaking popular press. He nonetheless continued supporting the Institut de Recherche sur l'Innovation Sociale at the Centre National de la Recherche Scientifique and was at the Collège de 'Pataphysique. Baudrillard taught at the European Graduate School in Saas-Fee, Switzerland, and collaborated at the Canadian theory, culture, and technology review , where he was abundantly cited. He also purportedly participated in the International Journal of Baudrillard Studies (as of 2022 hosted on Bishop's University domain) from its inception in 2004 until his death.

In 1999-2000, his photographs were exhibited at the Maison européenne de la photographie in Paris. In 2004, Baudrillard attended the major conference on his work, "Baudrillard and the Arts", at the Center for Art and Media Karlsruhe in Karlsruhe, Germany.

Grave of Jean Baudrillard with flowers and vines planted and growing over it in Montparnasse Cemetery, Paris, France.

Baudrillard enjoyed baroque music; a favorite composer was Claudio Monteverdi. He also favored rock music such as The Velvet Underground & Nico.

Baudrillard did his writing using "his old typewriter, never at the computer". He has stated that a computer is not "merely a handier and more complex kind of typewriter", whereas with a typewriter he has a "physical relation to writing".

Baudrillard was married twice. He and his first wife Lucile Baudrillard had two children, Gilles and Anne.

In 1970 during his first marriage, Baudrillard met 25-year-old Marine Dupuis when she arrived at the Nanterre where he was a professor. Marine went on to be a media artistic director. They married in 1994 when he was 65.

Diagnosed with cancer in 2005, Baudrillard battled the disease for two years from his apartment on Rue Sainte-Beuve, Paris, dying at the age of 77. Marine Baudrillard curates Cool Memories, an association of Jean Baudrillard's friends.

Baudrillard's published work emerged as part of a generation of French thinkers including Gilles Deleuze, Jean-François Lyotard, Michel Foucault, Jacques Derrida, and Jacques Lacan who all shared an interest in semiotics, and he is often seen as a part of the post-structuralist philosophical school.

James M. Russell in 2015 stated that "In common with many post-structuralists, his arguments consistently draw upon the notion that signification and meaning are both only understandable in terms of how particular words or 'signs' interrelate". Baudrillard thought, as do many post-structuralists, that meaning is brought about through systems of signs working together. Following on from the structuralist linguist Ferdinand de Saussure, Baudrillard argued that meaning ( value) is created through difference-through what something is not (so "dog" means "dog" because it is not-"cat", not-"goat", not-"tree", etc.). In fact, he viewed meaning as near enough self-referential: objects, images of objects, words and signs are situated in a web of meaning; one object's meaning is only understandable through its relation to the meaning of other objects; for instance, one thing's prestige relates to another's mundanity.

From this starting point Baudrillard theorized broadly about human society based upon this kind of self-referentiality. His writing portrays societies always searching for a sense of meaning-or a "total" understanding of the world-that remains consistently elusive. In contrast to Post-structuralism (such as Michel Foucault), for whom the formations of knowledge emerge only as the result of relations of power, Baudrillard developed theories in which the excessive, fruitless search for total knowledge leads almost inevitably to a kind of delusion. In Baudrillard's view, the (human) subject may try to understand the (non-human) object, but because the object can only be understood according to what it signifies (and because the process of signification immediately involves a web of other signs from which it is distinguished) this never produces the desired results. The subject is, rather, seduced (in the original Latin sense: seducere, 'to lead away') by the object. He argued therefore that, in the final analysis, a complete understanding of the minutiae of human life is impossible, and when people are seduced into thinking otherwise they become drawn toward a " simulated" version of reality, or, to use one of his neologisms, a state of " hyperreality". This is not to say that the world becomes unreal, but rather that the faster and more comprehensively societies begin to bring reality together into one supposedly coherent picture, the more insecure and unstable it looks and the more fearful societies become. Reality, in this sense, "dies out."

Russell states that Baudrillard argues that "in our present 'global' society, technological communication has created an excessive proliferation of meaning. Because of this, meaning's self-referentiality has prompted, not a 'global village,' but a world where meaning has been obliterated" Accordingly, Baudrillard argued that the excess of signs and of meaning in late 20th century "global" society had caused (quite paradoxically) an effacement of reality. In this world neither liberal nor Marxist utopias are any longer believed in. We live, he argued, not in a " global village", to use Marshall McLuhan's phrase, but rather in a world that is ever more easily petrified by even the smallest event. Because the "global" world operates at the level of the exchange of signs and commodities, it becomes ever more blind to symbolic acts such as, for example, terrorism. In Baudrillard's work the symbolic realm (which he develops a perspective on through the anthropological work of Marcel Mauss and Georges Bataille) is seen as quite distinct from that of signs and signification. Signs can be exchanged like commodities; symbols, on the other hand, operate quite differently: they are exchanged, like gifts, sometimes violently as a form of potlatch. Baudrillard, particularly in his later work, saw the "global" society as without this "symbolic" element, and therefore symbolically (if not militarily) defenseless against acts such as the Rushdie Fatwa or, indeed, the September 11 terrorist attacks against the United States and its military and economic establishment.

Value criticism

Book cover, Éditions Gallimard

In his early books, such as The System of Objects, For a Critique of the Political Economy of the Sign, and , Baudrillard's main focus is upon consumerism, and how different objects are consumed in different ways. At this time Baudrillard's political outlook was loosely associated with Marxism (and Situationism), but in these books he differed from Karl Marx in one significant way. For Baudrillard, as for the situationists, it was consumption rather than production that was the main driver of capitalist society.

Baudrillard came to this conclusion by criticising Marx's concept of " use-value". Baudrillard thought that both Marx's and Adam Smith's economic thought accepted the idea of genuine needs relating to genuine uses too easily and too simply. Baudrillard argued, drawing from Georges Bataille, that needs are constructed, rather than innate. He stressed that all purchases, because they always signify something socially, have their fetishistic side. Objects always, drawing from Roland Barthes, "say something" about their users. And this was, for him, why consumption was and remains more important than production: because the "ideological genesis of needs" precedes the production of goods to meet those needs.

He wrote that there are four ways of an object obtaining value. The four value-making processes are:

1. The functional value: an object's instrumental purpose (use value). Example: a pen writes; a refrigerator cools.

2. The exchange value: an object's economic value. Example: One pen may be worth three pencils, while one refrigerator may be worth the salary earned by three months of work.

3. The symbolic value: an object's value assigned by a subject in relation to another subject (i.e., between a giver and receiver). Example: a pen might symbolize a student's school graduation gift or a commencement speaker's gift; or a diamond may be a symbol of publicly declared marital love.

4. The sign value: an object's value within a system of objects. Example: a particular pen may, while having no added functional benefit, signify prestige relative to another pen; a diamond ring may have no function at all, but may suggest particular social values, such as taste or class.

Baudrillard's earlier books were attempts to argue that the first two of these values are not simply associated, but are disrupted by the third and, particularly, the fourth. Later, Baudrillard rejected Marxism totally (The Mirror of Production and Symbolic Exchange and Death).[citation needed ] But the focus on the difference between sign value (which relates to commodity exchange) and symbolic value (which relates to Maussian gift exchange) remained in his work up until his death. Indeed, it came to play a more and more important role, particularly in his writings on world events.

Simulacra and Simulation

As Baudrillard developed his work throughout the 1980s, he moved from economic theory to mediation and mass communication. Although retaining his interest in Saussurean semiotics and the logic of symbolic exchange (as influenced by anthropologist Marcel Mauss), Baudrillard turned his attention to the work of Marshall McLuhan, developing ideas about how the nature of social relations is determined by the forms of communication that a society employs. In so doing, Baudrillard progressed beyond both Saussure's and Roland Barthes's formal semiology to consider the implications of a historically understood version of structural semiology. According to Kornelije Kvas, "Baudrillard rejects the structuralist principle of the equivalence of different forms of linguistic organization, the binary principle that contains oppositions such as: true-false, real-unreal, center-periphery. He denies any possibility of a (mimetic) duplication of reality; reality mediated through language becomes a game of signs. In his theoretical system all distinctions between the real and the fictional, between a copy and the original, disappear".

Simulation, Baudrillard claims, is the current stage of the simulacrum: all is composed of references with no referents, a hyperreality. Baudrillard argues that this is part of a historical progression. In the Renaissance, the dominant simulacrum was in the form of the counterfeit, where people or objects appear to stand for a real referent that does not exist (for instance, royalty, nobility, holiness, etc.). With the Industrial Revolution, the dominant simulacrum becomes the product, which can be propagated on an endless production line. In current times, the dominant simulacrum is the model, which by its nature already stands for endless reproducibility, and is itself already reproduced.

Throughout the 1980s and 1990s, one of Baudrillard's most common themes was historicity, or, more specifically, how present-day societies use the notions of progress and modernity in their political choices. He argued, much like the political theorist Francis Fukuyama, that history had ended or "vanished" with the spread of globalization; but, unlike Fukuyama, Baudrillard averred that this end should not be understood as the culmination of history's progress,

The aim of this world order [...] is, in a sense, the end of history, not on the basis of a democratic fulfillment, as Fukuyama has it, but on the basis of preventive terror, of a counter-terror that puts an end to any possible events.

-  Baudrillard, The Intelligence of Evil or the Lucidity Pact . New York: Berg Publishing, 2005, Translated by Chris Turner

but as the collapse of the very idea of historical progress. For Baudrillard, the end of the Cold War did not represent an ideological victory; rather, it signaled the disappearance of utopian visions shared between both the political Right and Left. Giving further evidence of his opposition toward Marxist visions of global communism and liberal visions of global civil society, Baudrillard contended that the ends they hoped for had always been illusions; indeed, as The Illusion of the End argues, he thought the idea of an end itself was nothing more than a misguided dream:

The end of history is, alas, also the end of the dustbins of history. There are no longer any dustbins for disposing of old ideologies, old regimes, old values. Where are we going to throw Marxism, which actually invented the dustbins of history? (Yet there is some justice here since the very people who invented them have fallen in.) Conclusion: if there are no more dustbins of history, this is because History itself has become a dustbin. It has become its own dustbin, just as the planet itself is becoming its own dustbin.

Within a society subject to and ruled by fast-paced electronic communication and global information networks the collapse of this façade was always going to be, he thought, inevitable. Employing a quasi-scientific vocabulary that attracted the ire of the physicist Alan Sokal, Baudrillard wrote that the speed society moved at had destabilized the linearity of history: "we have the particle accelerator that has smashed the referential orbit of things once and for all."

Russell stated that this "approach to history demonstrates Baudrillard's affinities with the postmodern philosophy of Jean-François Lyotard", who argued that in the late 20th century there was no longer any room for " metanarratives". (The triumph of a coming communism being one such metanarrative.) But, in addition to simply lamenting this collapse of history, Baudrillard also went beyond Lyotard and attempted to analyse how the idea of positive progress was being employed in spite of the notion's declining validity. Baudrillard argued that although genuine belief in a universal endpoint of history, wherein all conflicts would find their resolution, had been deemed redundant, universality was still a notion used in world politics as an excuse for actions. Universal values which, according to him, no one any longer believed universal were and are still rhetorically employed to justify otherwise unjustifiable choices. The means, he wrote, are there even though the ends are no longer believed in, and are employed to hide the present's harsh realities (or, as he would have put it, unrealities). "In the Enlightenment, universalization was viewed as unlimited growth and forward progress. Today, by contrast, universalization is expressed as a forward escape." This involves the notion of " escape velocity" as outlined in The Illusion of the End , which in turn, results in the postmodern fallacy of escape velocity on which the postmodern mind and critical view cannot, by definition, ever truly break free from the all-encompassing " self-referential" sphere of discourse.

Baudrillard reacted to the West's indifference to the Bosnian War in writings, mostly in essays in his column for Libération. More specifically, he expressed his view on Europe's unwillingness to respond to "aggression and genocide in Bosnia", in which "New Europe" revealed itself to be a "sham." He criticized the Western media and intellectuals for their passivity, and for taking the role of bystanders, engaging in ineffective, hypocritical and self-serving action, and the public for its inability to distinguish simulacra from real world happenings, in which real death and destruction in Bosnia seemed unreal. He was determined in his columns to openly name the perpetrators, Serbs, and call their actions in Bosnia aggression and genocide.

Baudrillard "had famously attacked Susan Sontag" for directing a play in war-torn Bosnia.

Baudrillard's provocative 1991 book, The Gulf War Did Not Take Place, raised his public profile as an academic and political commentator. He argued that the first Gulf War was the inverse of the Clausewitzian formula: not "the continuation of politics by other means," but "the continuation of the absence of politics by other means." Accordingly, Saddam Hussein was not fighting the Coalition, but using the lives of his soldiers as a form of sacrifice to preserve his power. The Coalition fighting the Iraqi military was merely dropping 10,000 tonnes of bombs daily, as if proving to themselves that there was an enemy to fight. So, too, were the Western media complicit, presenting the war in real time, by recycling images of war to propagate the notion that the U.S.-led Coalition and the Iraqi government were actually fighting, but, such was not the case. Saddam Hussein did not use his military capacity (the Iraqi Air Force). His power was not weakened, evinced by his easy suppression of the 1991 internal uprisings that followed afterwards. Over all, little had changed. Saddam remained undefeated, the "victors" were not victorious, and thus there was no war-i.e., the Gulf War did not occur.

The book was originally a series of articles in the British newspaper The Guardian and the French newspaper Libération, published in three parts: "The Gulf War Will Not Take Place," published during the American military and rhetorical buildup; "The Gulf War Is Not Taking Place," published during military action; and "The Gulf War Did Not Take Place" published afterwards.

Some critics, like Christopher Norris accused Baudrillard of instant revisionism; a denial of the physical action of the conflict (which was related to his denial of reality in general). Consequently, Baudrillard was accused of lazy amoralism, cynical scepticism, and Berkelian subjective idealism. Sympathetic commentators such as William Merrin, in his book Baudrillard and the Media, have argued that Baudrillard was more concerned with the West's technological and political dominance and the globalization of its commercial interests, and what that means for the present possibility of war. Merrin argued that Baudrillard was not denying that something had happened, but merely questioning whether that something was in fact war or a bilateral "atrocity masquerading as a war". Merrin viewed the accusations of amorality as redundant and based on a misreading. In Baudrillard's own words:

Saddam liquidates the communists, Moscow flirts even more with him; he gases the Kurds, it is not held against him; he eliminates the religious cadres, the whole of Islam makes peace with him. [...] Even [...] the 100,000 dead will only have been the final decoy that Saddam will have sacrificed, the blood money paid in forfeit according to a calculated equivalence[...] to preserve his power. What is worse is that these dead still serve as an alibi for those who do not want to have been excited for nothing: at least these dead will prove this war was indeed a war and not shameful and pointless.

On the terrorist attacks of 11 September 2001

In his essay, "The Spirit of Terrorism", Baudrillard characterises the terrorist attacks of 11 September 2001 on the World Trade Center in New York City as the "absolute event". Baudrillard contrasts the "absolute event" of 11 September 2001 with "global events", such as the death of Diana, Princess of Wales and World Cup. The essay culminates in Baudrillard regarding the U.S.-led Gulf War as a " non-event", or an "event that did not happen". Seeking to understand them as a reaction to the technological and political expansion of capitalist globalization, rather than as a war of religiously based or civilization-based warfare, he described the absolute event and its consequences as follows:

This is not a clash of civilisations or religions, and it reaches far beyond Islam and America, on which efforts are being made to focus the conflict to create the delusion of a visible confrontation and a solution based upon force. There is indeed a fundamental antagonism here, but one that points past the spectre of America (which is perhaps the epicentre, but in no sense the sole embodiment, of globalisation) and the spectre of Islam (which is not the embodiment of terrorism either) to triumphant globalisation battling against itself.

In accordance with his theory of society, Baudrillard portrayed the attacks as a symbolic reaction to the inexorable rise of a world based on commodity exchange.

Baudrillard's stance on the 11 September 2001 attacks was criticised on two counts. Richard Wolin (in The Seduction of Unreason) forcefully accused Baudrillard and Slavoj Žižek of all but celebrating the terrorist attacks, essentially claiming that the United States received what it deserved. Žižek, however, countered that accusation to Wolin's analysis as a form of intellectual barbarism in the journal Critical Inquiry, saying that Wolin failed to see the difference between fantasising about an event and stating that one is deserving of that event. Merrin (in Baudrillard and the Media) argued that Baudrillard's position affords the terrorists a type of moral superiority. In the journal Economy and Society, Merrin further noted that Baudrillard gives the symbolic facets of society unfair privilege above semiotic concerns. Second, authors questioned whether the attacks were unavoidable. Bruno Latour, in Critical Inquiry, argued that Baudrillard believed that their destruction was forced by the society that created them, alluding to the notion that the Towers were "brought down by their own weight." In Latour's view, this was because Baudrillard conceived only of society in terms of a symbolic and semiotic dualism.[vague ]

19 February 2003, with the 2003 invasion of Iraq impending, René Major moderated a debate entitled "Pourquoi La Guerre Aujourd'hui?" between Baudrillard and Jacques Derrida, co-hosted by Major's Institute for Advanced Studies in Psychoanalysis and Le Monde Diplomatique. The debate discussed the relation between terrorist attacks and the invasion. "Where Baudrillard situates 9/11 as the primary motivating force" behind the Iraq War, whereas "Derrida argues that the Iraq War was planned long before 9/11, and that 9/11 plays a secondary role".

During 2005, Baudrillard wrote three short pieces and gave a brief magazine interview, all treating similar ideas; following his death in 2007, the four pieces were collected and published posthumously as The Agony of Power, a polemic against power itself. The first piece, "From Domination to Hegemony", contrasts its two subjects, modes of power; domination stands for historical, traditional power relations, while hegemony stands for modern, more sophisticated power relations as realized by states and businesses. Baudrillard decried the "cynicism" with which contemporary businesses openly state their business models. For example, he cited French television channel TF1 executive Patrick Le Lay who stated that his business' job was "to help Coca-Cola sell its products." Baudrillard lamented that such honesty pre-empted and thus robbed the Left of its traditional role of critiquing governments and businesses: "In fact, Le Lay takes away the only power we had left. He steals our denunciation." Consequently, Baudrillard stated that "power itself must be abolished-and not solely in the refusal to be dominated [...] but also, just as violently, in the refusal to dominate."

The latter pieces included further analysis of the 11 September terrorist attacks, using the metaphor of the Native American potlatch to describe both American and Muslim societies, specifically the American state versus the hijackers. In the pieces' context, "potlatch" referred not to the gift-giving aspect of the ritual, but rather its wealth-destroying aspect: "The terrorists' potlatch against the West is their own death. Our potlatch is indignity, immodesty, obscenity, degradation and abjection." This criticism of the West carried notes of Baudrillard's simulacrum, the above cynicism of business, and contrast between Muslim and Western societies:

We [the West] throw this indifference and abjection at others like a challenge: the challenge to defile themselves in return, to deny their values, to strip naked, confess, admit-to respond to a nihilism equal to our own.

Jean-François Lyotard's 1974 Économie Libidinale criticised Baudrillard's work.

Lotringer notes that Gilles Deleuze, "otherwise known for his generosity", "made it known around Paris" that he saw Baudrillard as "the shame of the profession" after Baudrillard published his views on Foucault's works.

Sontag, responding to Baudrillard's comments on her reactions to the Bosnian war, described him as "ignorant and cynical" and "a political idiot".

James M. Russell in 2015 wrote that "The most severe" of Baudrillard's "critics accuse him of being a purveyor of a form of reality-denying irrationalism". One of Baudrillard's editors, critical theory professor Mark Poster, remarked:

Baudrillard's writing up to the mid-1980s is open to several criticisms. He fails to define key terms, such as the code; his writing style is hyperbolic and declarative, often lacking sustained, systematic analysis when it is appropriate; he totalizes his insights, refusing to qualify or delimit his claims. He writes about particular experiences, television images, as if nothing else in society mattered, extrapolating a bleak view of the world from that limited base. He ignores contradictory evidence such as the many benefits afforded by the new media

But Poster still argued for his contemporary relevance; he also attempted to refute the most extreme of Baudrillard's critics:

Baudrillard is not disputing the trivial issue that reason remains operative in some actions, that if I want to arrive at the next block, for example, I can assume a Newtonian universe (common sense), plan a course of action (to walk straight for X meters), carry out the action, and finally fulfill my goal by arriving at the point in question. What is in doubt is that this sort of thinking enables a historically informed grasp of the present in general. According to Baudrillard, it does not. The concurrent spread of the hyperreal through the media and the collapse of liberal and Marxist politics as the master narratives, deprives the rational subject of its privileged access to truth. In an important sense individuals are no longer citizens, eager to maximise their civil rights, nor proletarians, anticipating the onset of communism. They are rather consumers, and hence the prey of objects as defined by the code.

Christopher Norris's Uncritical Theory: Postmodernism, Intellectuals and the Gulf War, to Russell, "seeks to reject his media theory and position on "the real" out of hand".

Frankfurt school critical theorist Douglas Kellner's Jean Baudrillard: From Marxism to Postmodernism and Beyond-seeks rather to analyse Baudrillard's relation to postmodernism (a concept with which Baudrillard has had a continued, if uneasy and rarely explicit, relationship) and to present a Marxist counter. Regarding the former, William Merrin (discussed above) published more than one denunciation of Norris' position. The latter Baudrillard himself characterised as reductive.[vague ]

Kellner stated that "it is difficult to decide whether Baudrillard is best read as science fiction and pataphysics, or as philosophy, social theory, and cultural metaphysics, and whether his post-1970s work should be read under the sign of truth or fiction." To Kellner, Baudrillard during and after the 1970s "falls prey to a technological determinism and semiological idealism which posits an autonomous technology".

In 1991, writing for Science Fiction Studies, Vivian Sobchack alleged that "The man [Baudrillard] is really dangerous" for lacking "moral gaze", while J. G. Ballard (whose novel Baudrillard had written on) commented that Baudrillard was "trapped inside your [Baudrillard's] dismal jargon".

Sara Ahmed in 1996 remarked that Baudrillard's De la séduction was culpable of "celebrating [...] is precisely women's status as signs and commodities circulated by and for male spectators and consumers". Kellner described De la séduction as an "affront to feminism".

Art critic Adrian Searle in 1998 described Baudrillard's photography as "wistful, elegiac and oddly haunting", like " movie stills of unregarded moments".

Mark Fisher pointed out that Baudrillard "is condemned, sometimes lionised, as the melancholic observer of a departed reality", asserting that Baudrillard "was certainly melancholic". Poster stated that "As the politics of the sixties receded so did Baudrillard's radicalism: from a position of firm leftism he gradually moved to one of bleak fatalism", a view Felix Guattari echoed. Richard G. Smith, David B. Clarke and Marcus A. Doel instead consider Baudrillard "an extreme optimist". In an exchange between critical theorist McKenzie Wark and EGS professor Geert Lovink, Wark remarked of Baudrillard that "Everything he wrote was marked by a radical sadness and yet invariably expressed in the happiest of forms." Baudrillard himself stated "we have to fight against charges of unreality, lack of responsibility, nihilism, and despair". Chris Turner's English translation of Baudrillard's Cool Memories: 1980-1985 writes, "I accuse myself of[...] being profoundly carnal and melancholy [...] AMEN []".

David Macey saw "extraordinary arrogance" in Baudrillard's take on Foucault. Sontag found Baudrillard 'condescending'.

Russell wrote that "Baudrillard's writing, and his uncompromising - even arrogant - stance, have led to fierce criticism which in contemporary social scholarship can only be compared to the criticism received by Jacques Lacan."

This section needs expansion. You can help by adding to it.

Native American Anishinaabe writer Gerald Vizenor made extensive use of Baudrillard's concepts of simulation in his critical work.[clarification needed ]

The Wachowskis said that Baudrillard influenced (1999), and Neo hides money and disks containing information in Simulacra and Simulation. Adam Gopnik wondered whether Baudrillard, who had not embraced the movie, was "thinking of suing for a screen credit," but Baudrillard himself disclaimed any connection to The Matrix, calling it at best a misreading of his ideas.

Some reviewers have noted that Charlie Kaufman's film Synecdoche, New York seems inspired by Baudrillard's Simulacra and Simulation.

The album Why Hasn't Everything Already Disappeared? by rock band Deerhunter was influenced by Baudrillard's essay of the same name.

Books (English translations)

1968. The System of Objects

1970. [The Consumer Society: Myths and Structures fr]

1972. For a Critique of the Political Economy of the Sign

1973. The Mirror of Production

1976. Symbolic Exchange and Death

1977. Forget Foucault

1979. Seduction

1981. Simulacra and Simulation

1982. In the Shadow of the Silent Majorities

1983. Fatal Strategies

1983. Simulations

1986. America

1987. Cool Memories 1980-1985

1987. The Ecstasy of Communication

1990. The Transparency of Evil

1991. The Gulf War Did Not Take Place

1992. The Illusion of the End

1995. The Perfect Crime

1996. Cool Memories II 1987-1990

1997. Fragments: Cool Memories III 1990-1995

1998. Paroxysm: Interviews with Philippe Petit

1999. Impossible Exchange

2000. Passwords

2000. The Singular Objects of Architecture

2000. The Vital Illusion

2002. The Spirit of Terrorism And Requiem for the Twin Towers

2003. Fragments (Interviews with François L'Yvonnet)

2003. Cool Memories IV 1995-2000

2005. The Intelligence of Evil or the Lucidity Pact

2005. The Conspiracy of Art

2006. Utopia Deferred: Writings for Utopie (1967-1978)

2006. Cool Memories V 2000-2004

2007. Exiles from Dialogue

2008. Radical Alterity

2009. Why Hasn't Everything Already Disappeared?

2010. Carnival and Cannibal, or the Play of Global Antagonisms

2010. The Agony of Power

2011. Telemorphosis

2014. Screened Out

2014. The Divine Left: A Chronicle of the Years 1977-1984

Jocks, Heinz-Norbert: Die Fotografie und die Dinge. Ein Gespräch mit Jean Baudrillard. In: Kunstforum International., No: 172, Das Ende der Fotografie. Editor: Heinz-Norbert Jocks, 2004, p. 70-83.

Smith, Richard G., David B. Clarke, eds. 2015. Jean Baudrillard: From Hyperreality to Disappearance: Uncollected Interviews. Edinburgh, UK: Edinburgh University Press. ISBN 978-0-7486-9429-7.

Smith, Richard G., David B. Clarke, eds. 2017. Jean Baudrillard: The Disappearance of Culture: Uncollected Interviews. Edinburgh, UK: Edinburgh University Press. ISBN 978-1-4744-1778-5.

1. Baudrillard (trans. Chris Turner): ^

even Susan Sontag [...] came to stage Waiting for Godot in Sarajevo. [...] the worst part [...] [is] the condescending attitude and the misconception regarding where strength and weakness lie. They are the strong ones. It is we who are weak, going over there searching for somethin g to compensate for our weakness and loss of reality.
[...] In her opinion pieces, Susan Sontag confesses that the Bosnians do not really believe in the distress all around them [...] find the whole situation unreal, senseless, unintelligible. It is [...] an almost hyperreal hell [partly due to] media and humanitarian harassment [...] But Susan Sontag, who is from New York, must know better than they do what reality is because she has chosen them to embody it. [...] And Susan Sontag comes to convince them [...] of the 'reality' of their suffering, by culturalizing it, of course, by theatricalizing it so that it can serve as a point of reference in the theatre of Western values, one of which is solidarity.
Yet Susan Sontag herself is not the issue. She is merely fashionably emblematic of what has now become a widespread situation, in which harmless, powerless intellectuals trade their woes with the wretched [...] Not so long ago, we saw Bourdieu and the Abbe Pierre offering themselves up in televisual sacrifice, trading off between them the pathos-laden language and the sociological meta-language of misery.

2. Baudrillard (trans. Patrice Riemens):^

[...]Susan Sontag [...] came to have " Waiting for Godot" played in Sarajevo [...][...] the worse [] [...] is about the condescending manner in making out what is strength & [] what is weakness. They are strong. It is us who are weak and who go there to make good for our loss of strength and sense of reality. [...]
Susan Sontag herself confesses in her diaries that the Bosnians do not really believe in the suffering which surrounds them [...] finding the whole situation unreal, senseless, and unexplainable. It is [...] hell of [...] a hyperreal kind, made even more hyperreal by the harassment of the media and the humanitarian agencies [...] But then Susan Sontag, hailing herself from New York, must know better than them what reality is, since she has chosen them to incarnate it [...] Susan Sontag comes to convince them of the "reality" of their suffering, by making something cultural and something theatrical out of it, so that it can be useful as a referent within the theatre of western values, including "solidarity". But Susan Sontag herself is not the issue. She is merely a societal instance of [...] the general situation whereby toothless intellectuals swap their distress with the misery of the poor [...] Thus, not so long ago, one could witness Bourdieu and Abbe Pierre offering themselves as televisual slaughtering lambs trading with each other pathetic language and sociological garble about poverty.

1. Breindel, Jesse Glenn (2019). "Fatal and Banal Reality: Comparative Thoughts on Simulation and Concreteness". The Undecidable Unconscious: A Journal of Deconstruction and Psychoanalysis. 6 (1): 29-45. doi:10.1353/ujd.2019.0001. Project MUSE 751101. I am not interested in the rules of the game of the symbolic. By 'symbolic' I do not mean the Lacanian symbolic but the universe of mental simulation. . . . For me the symbolic order is the register of desire, where ideology is fatal. The Lacanian sign is a chain of representations, but I am interested in another kind of sign, which is elliptical, as in poetry, where the sign is fatal

2. ^ Baudrillard: "Staying with this image, one might suppose that the acceleration of modernity, of technology, events and media, of all exchanges - economic, political and sexual - has propelled us to 'escape velocity', with the result that we have flown free of the referential sphere of the real and of history. We are 'liberated' in every sense of the term, so liberated that we have taken leave of a certain space-time, passed beyond a certain horizon in which the real is possible because gravitation is still strong enough for things to be reflected and thus in some way to endure and have some consequence."|name=Jean Baudrillard, The Illusion of the End Translated by Chris Turner This translation copyright © Polity Press 1994. ; First published in France as L'illusion de la fin © Editions Galilée, 1992. Published with the assistance of the French Ministry of Culture.

^ a: : Baudrillard: "The matter is complicated further by the play of terminology. Neither seduction nor love being precise notions (they have no place in the great conceptual systems, nor in psychoanalysis), they caneasily switch or be confused. So if one takes seduction to be a challenge, a game where the bets are never down, an uninterrupted ritual exchange, an infinite escalation of the ante, a secret complicity, etc., one can always answer: "But so defined, wouldn't seduction be simply love?"... "We can even invert the relation and make love something more decisive, more challenging than seduction."

Antonio, Robert J. (2007). "The Passing of Jean Baudrillard". University of Texas at Arlington.

Attias, Bernardo (26 May 2011). "S(t)imulacrum(b)". Archived from the original on 15 April 2021. A radical defense of structuralism against poststructuralism, although worded as a radical defense of "fatality" (i.e. destiny) against "chance" and "randomness." Rather than accepting the view of meaning/order as something imposed on disorder by the discourse of rationality, Baudrillard defends precisely the reverse; disorder is imposed upon order by the discourse of innocence (if everything is left up to chance, we escape human responsibility for social situations).

Aylesworth, Gary (Spring 2015). "Postmodernism". In Zalta, E. N. (ed.). Stanford Encyclopedia of Philosophy. The French, for example, work with concepts developed during the structuralist revolution in Paris in the 1950s and early 1960s, including structuralist readings of Marx and Freud. For this reason they are often called "poststructuralists." They also cite the events of May 1968 as a watershed moment for modern thought and its institutions, especially the universities.

Coulter, Gerry (December 2008). "Baudrillard and Hölderlin and the Poetic Resolution of the World" (PDF). NEBULA: A Journal of Multidisciplinary Scholarship. 5 (4). ISSN 1449-7751. Archived from the original (PDF) on 7 March 2022.

Gane, Mike, ed. (4 March 1993). Baudrillard Live: Selected Interviews. London and New York: Routledge. ISBN 978-0415070386. I really don't think of myself as a philosopher, my impulse comes from a radical temperament which has more in common with poetry than philosophy.

Kellner, Douglas (Winter 2019). "Jean Baudrillard". In Zalta, E. N. (ed.). Stanford Encyclopedia of Philosophy.

Poole, Steven (7 March 2007a). "Transfini". Archived from the original on 14 June 2022. Baudrillard had once said, kindly: "I admire Derrida, but it's not my thing." He sympathized ironically with Americans who felt invaded by Derridean acolytes spreading the gospel of deconstruction: "That was the gift of the French. They gave Americans a language they did not need. It was like the Statue of Liberty. Nobody needs French theory."

Poole, Steven (7 March 2007b). "Jean Baudrillard. Philosopher and sociologist who blurred the boundaries between reality and simulation". The Guardian. London, England.

Poole, Steven (8 March 2007c). "Jean Baudrillard: French philosopher and sociologist who explored the changing nature of reality in the media age". The Guardian (published 8 March 2007). Archived from the original on 29 March 2022. Baudrillard had once said, kindly: "I admire Derrida, but it's not my thing." He sympathized ironically with Americans who felt invaded by Derridean acolytes spreading the gospel of deconstruction: "That was the gift of the French. They gave Americans a language they did not need. It was like the Statue of Liberty. Nobody needs French theory."

Poster, Mark (2002). "Introduction". In Poster, M. (ed.). Jean Baudrillard: Selected Writings (2nd ed.). Stanford: Stanford University Press. ISBN 978-0804742733.

Redhead, Steve (2013). "All Things are Curves: Notes on the intersecting lives of Jean Baudrillard and Paul Virilio" (PDF). Fusion Journal (2). Archived (PDF) from the original on 28 April 2021 - via Charles Sturt University Research Portal.

Smith, Richard G. (2010). The Baudrillard Dictionary. Edinburgh University Press.

Wolters, Eugene (18 July 2015). ""Nobody Needs French Theory," Baudrillard Slams Peers in 2005 Interview". Critical Theory. Archived from the original on 20 December 2022.

Zurbrugg, Nicholas (24 May 2006). "Baudrillard, modernism, and postmodernism". Economy and Society. 22 (4): 482-500. doi:10.1080/03085149300000030. Archived from the original on 1 November 2022.

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Jean Baudrillard ( BOHD-rih-yar , BOHD-ree-AR , French: [ʒɑ̃bodʁijaʁ]; 27 July 1929 - 6 March 2007) was a French sociologist, philosopher and poet with interest in cultural studies. He is best known for his analyses of media, contemporary culture, and technological communication, as well as his formulation of concepts such as hyperreality.

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Thinking over the last couple of weeks, I constantly look for signs be it in nature, around me and even in peoples faces as a way of understanding the world. I wonder is anyone else conscious of this in their daily life ? I think for me it is almost obsessive, what are people thinking, doing where is the sign where is it coming from? when something inspires me to paint or draw i look and think is it because i like the image not always but something draws me to it, then i think why ?

I took this picture because with my thoughts on time i suddenly realised that here is an example of three sets of related times yet after a while i thought which is the real one !

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This rock looked like it had a spine which i took into my cast, and them pressed the seaweed into it, and embedded a small stone. I felt the spine was too deeply etched and that the seaweed marks did not show well but the stone shone. I think i will break this into pieces at some point, which i like as if it is bread being shared with someone about to embark on a journey.

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plaster cast made by using my white skeletal rock to make soft mounds in the clay mold

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plaster cast made by using my white skeletal rock to make soft mounds in the clay mold

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This close up reminds me of the marking in the red rock ...... was it jealous that i favoured the other

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This is a clip of the images in the one of the films, For me it is so powerful and beautiful yet unsettling

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The pink thingy is my 3d print of the cast I made earlier.

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The pink brain found a friend. They appear to be lying on a soft plump duvet getting to know each other

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I don't know why I decided this was what it is? Except I made it after the ear, that was the thought pattern and trying free my mind of memories and images, connections to the beach. This is something I do regularily, in an attempt to free my mind and create something different, drawn from the depths of my subconscious. The black marks are made by seaweed in the centre which is not visible I placed glass which melted in the kiln

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Rebecca advised us to make vessels, mine had a life of its own and slowly formed this sharp, which reminded me of and ear and I thought that was interesting as you use your ears and your eyes to experience the sea more that other phenomena, such as looking at the sun you do not listen to the sun!

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I have no idea except another body part ! it looks mummified dead for sure. I like it, I like that in this image the rock and the finger resemble meat. It makes me feel raw truthful stripped bare to basic instincts, kinda exciting

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underside of the finger could be a part of a crab claw

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underside of the finger could be a part of a crab claw

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The beach ( dyke) in Dunkirk very surreal

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The beach ( dyke) in Dunkirk very surreal

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I found the industrial Dyke area extremely surreal and it location to the

dyke and sea was strange. The proximity and battle of power between them

was electric. I did these from memory and I liked the way the charcoal image on the right

transferred into the image on the left of the grasses.

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L'evier romantique marche primeur coupe.

The romantic kitchen sink cuts down the smart arse.

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Oulipo screen prints with an image of the worlds best ever fridge.

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A piece I started about my memories of the Dunkirk trip which I had discarded. Today it light up with ghostly shadow from the sun much more exciting!

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I realise since a child I would instinctively connect things in a strange way

using the linkage in a way to explain the real to me. it made me feel clever and maybe

this is another form of Pataphysics that I must look into more.

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Drawn from a photo of a xmas party. I preferred it just as a pencil

drawing with painted faces before I coloured the. background

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This was made taking a section of a photo of my dismembered body sculpture and enlarging it. The image was drawn in charcoal I liked this different images emerge from the original. I now see Grace crouched in a side position with her knees bent up towards her! The second image I see is a side profile of an older man, smoke coming from his nose smoking a thick cigar!

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Charcoal drawings and reflections.

This was the second drawing done at home, done using the previous method. I wanted to get more contrast which I did but somehow it is so controlled and with that control you loose something.

Reflecting on this I thought long and hard about differences in the 2, enicially I preferred this image but something felt wrong. it is polished and lacks the raw emotion that I need in my work.

" LET YOURSELF GO AND DONT BE AFRAID OF THE OUTCOME " Should be my new mantra and secondly, " STOP CHASING RABBITS DOWN HOLES"

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This was my favourite outcome from the workshop in which we were asked to create an image exploring nature and man made.

I think upon reflection although I find the image pleasing it does not highlight the message, as the piece of plastic to the top and left can through as delicate as a flower and does not show a contrast.

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This was probably truthfully my favourite as it is in the style of Dora Maar, it reflects upon the candle and electricity, through the lamp fitting, how such a great invention as the electric light now causes us so many problems in the current climate, although candles are still available ? This an image of nostalgia and I ask myself what I like or what does it mean to reflect on such images. The obvious direct connection for me is that of the work of Dora Maar and the surrealists, Man Ray etc which was very forward thinking at the time, I think also it is a poetic dreamy image which reflects how I like to handle the world.

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At first I did not like this print but after reflection it reminds me of the sculptures of Alexander Calder, connected blobs recording chances exploring their world.

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This was a reflection in my makeup mirror by the sun which appeared dancing on my bedroom chair I was mesmorised at the time, and thought it was a weird fairy but more mundanely it was a strange image from my ceiling lamp.

I like these odd strange delicate drawings and I will do more.

if I can not source inspiration I intend to create my own bizarre models to draw.

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2 minutes drawings in class and reflections on the artwork chosen 

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2 minutes drawings in class and reflections on the artwork chosen 

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GRACE. Had picked a video called Roger the rat by Rogar Ballan, who is photographer who examines the uncanny. Their other artist was Barnett Newman, I had not seen the work of either before but on first impressions the choice seemed logical, Rats and lines on canvases, cross. Both had something in common though an unnerving sense at the fringes which is what I was trying to pick up in my images.

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3 pieces by Joan Miro and Louis khans Jatiya Sangsad Bhaban Bangladeshes national parliment building.

The Miro work was an obvious choice of enquiry based on Ians recent uptake of charcoal drawings. The building beautiful in shape and form but not normally a choice I would have thought he would make based on his views on the system and capitalism but I suppose the geometric shapes, were too beautiful especially to his engineers eye. This was probably why my eye focased on the money note in the corner of the page which is above.

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Words picked from the book at random and used in the making of my photogram, as part of the project we are working on

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Finnegans Wake James Joyce

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Artist statement for Print Final Outcome

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Artist statement for Print Final Outcome

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Install view in a timeline of the process from left to right

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Install view in a timeline of the process from left to right

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Final posters on the right hand side.

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Frank Frazetta

Alex picked 2 artists whose work features heavily on the form, the first artist Saellia Aparico I thought was an interesting choice purely for the

way she creates almost sculpture like installs and I could instantly see what drew him to them. The work of the above Frazetta confused me as it was a clearly a male hand with volluptrous nude females hanging of the hand which to me seemed to be the opposite of his practice and his conversation into male sterotypes, of the powerful dominating male ! In actual fact the picture on looking made me uneasy, unless that was the intention as I was not aware of him before.

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Trent Park top & Rodchenko

My immediate thoughts circles movement patterns. I am not familiar with the work of Parks and I actually thought it was Danilias own work as it was similar. The Rodchenko surprised me as I could not work out this connection and I still do not understand it.

The only thing clear to me through this is how I personally feel that Danilla is trapped within his practice like he was trapped by his addictions

I think he needs some resolution to free himself to explore other areas. He needs to let go

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I love this drawing done by her in tempura paint on paper

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This is one of the most beautiful things I have watched.

This video shows a kind of game, which I used to play with my grandmother when I was a child.
We called it "Romeo & Juliet".
I always wanted to make this ritual again, but the paper matches dissappeared from the market so many years ago.
I made the association of this dissapeareance to the changes in our society at the human relations level.
The times have changed and nobody believes in affective bonds today, because they are deep and fragile. They are temporary and very easy to break.
Neither is possible to play "Romeo & Juliet".
But a few months ago, at the Tristan Narvaja fair, among a lot of empty match boxes ,I found this one: the only one which was full.

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This installation was made from the wall paint of an unrestored cell in the first jail in Uruguary called Miguletes.

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Painting workshop observations on making.

I attended this workshop on 27/04/24

"Fluid Painting"

I did not find it fluid and we were using acrylic on canvas.

In the first couple of strokes I liked the image but then I realised I had no background! Once I tried to add this in it all fell apart and quickly deteriorated.

This is a problem I have had with acrylics in the past, suddenly realising its because with oils you build up an image with acrylics in my practice its would be more fruitfull for me to not build on the strokes as the initial strokes are usually the ones I like.

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The Back

This is something that has interested me before looking at the reverse of the canvas. with the light shinning through the image is better and gives an interesting poetic take like you are seeing something hidden, something you are not meant to see, but to discover. Like seeing an uncanny image out of the corner of the eye just for one minute.

Once I have solved the problem of the light sources this is where I am taking my practice forward. To discover the hidden, this helps explain my interests on the perception of Phemenology, the uncanny and explaining in visual terms my thoughts.

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I found this work did not really resonate with me. It was interesting as it was raw and imperfect compared to most of the exhibitions that I have seen recently. I could not work out if this was refreshing or just a conditioning of our view of images now so manipulated. In the accompanying film he talked at about the connection of art making to Jazz and the practice of jamming in a group, of not needing to understand or think about what one is doing, just instinctively knowing that it is. I am sure he felt through the sweeping strokes of the large brooms he used to make the paintings but on this occasion I could not find the connection.

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These sculptures felt much more raw, fluid and exciting, for me looking at this allows my mind freedom just to explore the senses.

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For this painting I started with 3 benign references so I thought! A reference to blue and a golden green, a dark blue tile that had been in my garden for over a year, covered in mud and snail marks and a black and white image of natural reflections in the river stour.

I relaxed into painting the original idea was to paint on both sides to see the effect, this proved difficult as I was not used to using thick paint on the surface and the oil paint also looked quite matt as it had no background to reflect it. I went about layering the paint on as, as per usual the first marks I liked but on upon holding it up to the light I could see every little brush mark which I wasn't sure that I liked?

So it was almost a repetitive process, re applying paint.

Half way through I realised that I could see something within the works the image that appeared to me was that of shoulders and chest and a side profile of the chin, with the heart of a person being wrenched out! I started to cry feeling it represented the image of my dying husband, his heart dying and his soul dissipating into the atmosphere and of course I had forgotten the hospital area was all blue, a colour that I never normally use for the connection to a memory of his body being taken away in a blue body bag.

Some how this picture had released the trauma of the event.

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I then applied some very free marks to the back in acrylic paint. This created and interesting effect but I felt at the time that it was some how too smooth but this offers another way in which to create a different effect.

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London trip to the Tate to see the Abstract Expressionists exhibition

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London trip to the Tate to see the Abstract Expressionists exhibition

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This work reminded me of a village in the hill side with lightning. Murillo's exhibition was looking at marks and colour through the lens of Monet and it was a real example "of your brain filling in the blanks".

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This picture has been made using the technique above. The technique learned by Munster from the town of Murnau in Bavaria had been used in the 18th & 19th century although its origins began in Middle Ages and renaissance art, mainly in sacral paintings also known as Verre eglomise.

I was excited to find this in the Tate ehibitionas I knew nothing about it and had started to explore this method.

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The bridge by the FRAC

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To make a metal wire frame with the Transenders attached. Fix pieces of paper to the wire. Monitor the movement (if any) that emanates- map this into a design of potential sound/ movements as in the pencil marks above.

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This was one idea that was formed during the workshops, to map the movements of the paper, made by vibrations of the sound coming from the transponders. I thought it would be interesting to see the patterns in relation to the sound.

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This was one of my favourite experiments the transducers was placed at the end of the hoover tube and the sound echoed through it. I took a recording but the file was too big to upload here.

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This was created with various images that I wanted to apply in a surreal style, thinking about the narrative.

Today in the news, a couple of weeks after painting this, it looks like Israel is going to war with Iran! Yet another terrible war in a world that shows indifference to these situations and carries on "normal life". I have Ukranian and Russian students in the school where I work whom seem oblivious to the deaths and I wonder how?

In some ways this image reflects how the young are durable but self indulged shielding them from the outside world beyond their close surroundings.

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This was a nightmare I had many years ago in which I watched my mother fall from a platform the sky. The rain was important as it caused her to slip.

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At the Turner contemporary

We went to this with Ian. I had some sort of memory regarding these flowers and it appears I saw it last year at Tate Britain but it was at the end and the flowers had decayed and it was a brown watery mess, but I attracted to it otherwise I would not have remembered. What draws me to this work is the process of decay even in the image above with the mould already appearing the flowers have an ephemeral feel, being able to watch the transformation. when I saw this at the Tate the appeal of the earthy stains left on the wall from the decay flowing down was another kind of ephemeral feeling.

Regarding the rest of the work in the show apples, trees and sculptures nothing really aroused me and I came away with no great feelings. I do not feel that we have become that detracted from nature these days to feel that I need to see a tree in an Art Gallery.

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Whilst I had seen this advertised online I was really pleased to have gone in person. The piece above is not normally my cup of tea but I found myself transfixed the technique of the painting was astounding and the painting totally drew me in. The standard of the other artists too was high and beautiful, I liked the work of TM Davy as well magical.

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I came across this artist whilst working on the task set by Ben ..... conference task. I decided to to make my conference on art in public spaces. This artist research is full of the things I have been thinking about such as drawing new audiences into art, challenging perceptions and how art in a space can psycologically change views and what we can learn from this

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Made this with wire and polymer clay but I feel that this is the moment and not the moment before as in “Art as the Ecology of thinking” the moment in the movement called …..

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This shape proceeds the moment

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Whilst starting another painting after a little break I was surprised how much the action of painting is so exciting and exhilarating for me, does this come through in the work or is it just a personal joy .? Does the art have to be more than that ?