The weeks that followed were curious. As the weight of my mood, the distractedness and clawing anxiety I had fought to control for many months began to lift, I felt a sort of dissociation set in. Experience took on a strange glassiness, as if I were outside myself, looking in. It was not a matter of feeling dulled, or anaesthetised, more a sense that I had become less real, or at least less engaged by questions of the self. The effect was not so much unsettling as curious, a process to be observed, a response that was itself an expression of what I was experiencing.
I used to babysit you and your brothers many,many years ago and your Mum was so kind to me in one of my moments of darkness. I will never forget any of you. I still have so many vivid pictures of your family and that house in my head!
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What really happened and how did the story of Dutch tulip speculation get so distorted? Anne Goldgar discovered the historical reality when she dug into the archives to research her book, Tulipmania: Money, Honor, and Knowledge in the Dutch Golden Age.
DEAR MISS MANNERS: Whenever I ask someone a question over text or through a messaging app, it feels weird to me to just ask the question. Instead, I always start off with "Hi (Name)," even if I just talked to them recently. I feel like the urge to add some kind of introduction comes from writing longer emails.
I would never correct my friend, but may I politely demur and say, "Why no, thank you," when the hostess insists I reward her dog for barking at me? She seems so disappointed in me when I refuse. What should I do?
The hallways of Congress became his stage; in nearly five years of working on Capitol Hill, I never encountered a CEO, in any industry, who spent as much time as he did personally lobbying members of Congress.
SBF believed that the halls of Congress were merely another level in his game, a realm where money and celebrities could buy political influence to prop up his soon-to-be crumbling empire. But, like the participants of Love is Blind discovering harsh truths about their partners way too late, SBF faced the consequences while he attempted to manipulate Congress for his gain.
After talking almost exclusively about AI in photography for the last few weeks, I want to share something different with you today. Earlier this month, the photography exhibition Gute Aussichten opened here in Hamburg, a showcase for emerging photographers curated by Josefine Raab and Stefan Becht. This year's exhibition features a work that I think is also interesting for dots per inch: "My love for you was never real" by Charlotte Helwig, who recently graduated from the University of Applied Sciences in Bielefeld. Her work is a reflection on the image worlds of social media and the role that photography and photographic staging play in it. I am convinced that the way we have become accustomed to photographic staging as a form of creating reality profoundly influences our idea of authenticity in images and what constitutes truth in both the physical and virtual world. I wrote about Charlotte Helwig's work for the Gute Aussichten catalog and would like to share the text with you here. If you have any thoughts on the subject, I'd love to read them in the comments.
A young woman stands facing away from the viewer, wearing headphones and VR goggles, completely enclosed in the digital world. We see a bodybuilder, her manicured hands, no face to personalize the surreal, steeled body. Two people hold each other by the shoulders, but it's not clear if they're holding on or pushing each other away. A sexy dripping orchid, a nasty insult on the grass in front of a mansion, an explosion, a glass falling from a table, a person falling into the empty sky. Precise, almost commercial studio shots next to warm, noisy daylight shots and still lifes.
"My love for you was never real" is a series of single images, a feed without beginning or end, not ordered by time, but spread across the wall. Each image is a small, self-contained narrative. Each scene stands on its own, just as the people depicted are self-contained. While everything is available simultaneously, nothing is really connected. Formally and structurally, the work resembles a home feed, that stream of professional and personal photos, advertisements, influencers, news, as we encounter it on social media.
Born in Berlin in 1996, Charlotte Helwig belongs to a generation of young photographers who have grown up with Instagram, YouTube, and TikTok, and for whom social media is part of an extended reality. The boundary between the real and the digital world seems hard to define when love, friendships and interests always take place in both worlds or move fluidly between them.
Helwig analyzes the digital theater of fabricating identity on Instagram and how it mirrors our realities and makes our desires visible. Each image is a tableau, carefully considered in relation to one of the themes or emotions she encounters daily on the platform. The images are meditations on the unsatisfying feeling of eternal interminability, the uncertainties of digital friendship, the instability, hypersexualization, and the unfiltered hate of cybermobbing. The work speaks of a longing for real connections; it is a confession of a false, superficial, vain love.
The visual realms created in this way, according to Helwig, are "exaggerated stagings of reality for feedback and reaction". They allow and anticipate a performative form of ourselves, producing a "non-stop advertisement in which private opinion and advertising merge into a convoluted tableau."
Writing in 1998, Italian sociologist Elena Esposito observed that the virtual is diametrically opposed to the difference between truth and fiction. Its purpose is not to create "false real objects" but "true virtual objects", for which the question of true reality is completely irrelevant. The opportunity of the virtual, Esposito argues, lies in the viewer's awareness that "the reality he is dealing with depends on his interventions and does not exist independently." The virtual makes it easy to participate in the construction of the real.
Seen from this perspective "My love for you was never real", speaks of real loneliness in social media, but it dissolves as the desire to forge new connections takes center stage. For Helwig, her work is not just a critique of social media. Rather, the photographer uses Instagram to go beyond Instagram. The platform is the starting point that gives her the ideas for her motifs, but it is also a tool for realizing the work: she finds her protagonists, teams, and many of the locations on Instagram. She contacts them on the platform and creates sets in the Berlin area, meeting people she would never have met without Instagram: a bodybuilder, stuntmen, models, couples and stylists. Each image is staged, but a real encounter, a "real virtual object", embracing the digital vrit.
After talking almost exclusively about AI in photography for the last few weeks, I want to share something different with you today. Earlier this month, the photography exhibition Gute Aussichten opened here in Hamburg, a showcase for emerging photographers curated by Josefine Raab and Stefan Becht. This year's exhibition features a work that I think is also interesting for dots per inch: \\\"My love for you was never real\\\" by Charlotte Helwig, who recently graduated from the University of Applied Sciences in Bielefeld. Her work is a reflection on the image worlds of social media and the role that photography and photographic staging play in it. I am convinced that the way we have become accustomed to photographic staging as a form of creating reality profoundly influences our idea of authenticity in images and what constitutes truth in both the physical and virtual world. I wrote about Charlotte Helwig's work for the Gute Aussichten catalog and would like to share the text with you here. If you have any thoughts on the subject, I'd love to read them in the comments.
\\\"As the first group to fully come of age with smartphones and social media, Gen Z formed an understanding of the world in which the boundaries between the digital and real were blurred. Every experience was a potential cyber-palimpsest of self-documentation, and reaction, and reaction to the reactions \u2026 this new generation embraced a voyeuristic digital v\u00E9rit\u00E9.\\\" - Cal Newport
\\\"My love for you was never real\\\" is a series of single images, a feed without beginning or end, not ordered by time, but spread across the wall. Each image is a small, self-contained narrative. Each scene stands on its own, just as the people depicted are self-contained. While everything is available simultaneously, nothing is really connected. Formally and structurally, the work resembles a home feed, that stream of professional and personal photos, advertisements, influencers, news, as we encounter it on social media. e24fc04721