Conversation and the VISION OF U

Visions of u
Of us
The fun
The sex
So many things
I long to have again
let me try
The way your body wrapped around me when you got in from work and joined me in bed at ribble rd
hmm nice
There is a pic I want to find of u stand on looking at your phone wearing shorts
i have the memory in my head
The smell of u
Eating popcorn and drinking and abandoning movies
And u f’ing me at the halcyon on the sofa in Front of the window
And against the wall on arrival at Bournmouth
Will I ever sleep tonight
I will try
such a written memory
get some sleep my love as the night is long and the day awaits ur strenght to consume it with work u have signed on for
Same to you xxxx
Night sweetheart xx
That’s what U used to say
I miss that too
 our next meeting shall patient a realistic picture of our words
so then we will have the chance to fulfil our wants… chat ends
And the conversation ensued to make obvious the vision of me(him), what she loved,loves and would love but distance puts it away and leaves but imagination. what would her heart beat be like, as fast as the marching drum beats or as the racing car?
How can this painting be finished with an imaginary thought? why imagine when what was can be felt again? why suffer when u can offer? What determined it then could detemine it again to eternity just like light dispels darkness to start the day and the night sets in because the light gives way, why then can’t the power of vision give way to reality for that boken piece but mend again, why can’t knots apart be knots not nuts?
it sounds nice on conversing but the imagination of the ‘vision of U’ can be nicer if better lived but for forces…
We may bow to the powers of time but some day it shall bow to the power of Love, we may not want it but time shall tell how we miss it and we need it to have the coversation on the vision of u be repeated for the actual scenes be where bodies are felt, like the ribble road a visit is made, a fragrance is smelled, the unfinished movies watched, the shots taken and the photographs stored in our memories.
I love the vision of u for u and me sweetness. Miss u fresh13492905_10153524704507307_1215276251_n



PICTORGAPHY Images above and below were gotten from this site:

“We have entered the digital age and the digital age has entered us” (Ritchin 2009: 9). This statement is of negation and affirmation on the value of photographs, but a basic perspective to it is of modification – the current change from analogue photography to digital photography, which for David Campbell (2015) is manipulation with an exact interest to elevate the potential values of photography rather than settle on the negative perspective projected (2015).
This short reflection on pictures of tattoos and pierced body is aimed at complementing the significance of manipulation in photography. Though the lens of post humanism, globalisation, postmodernity, popular culture, focusing events, critical discourse analysis enhances a clear perspective to manipulation as a theory of value in photography and after photography.

Photography like cultures and traditions has metamorphosed from analogue, (for culture, crude or ancient) to digital (modern, postmodern). These systematic and technical changes have influenced human social behaviour and responses to reality. David Campbell (2015) says, ‘the change involves understanding the integrity of philosophical status as an object. We need to focus on the process of photography rather than just its products, and consider the issue in terms of what images do rather than hat images are (2015: 4). Campbell emphasizes on value of these images as against beings products of possession.

Through this perspective, we ask questions like; why do people pierce, tattoo or indulge in any sort of body modification? What is the cultural significance, language and how can it be understood? At best the semiotic language exports of tattoos and piercing can find meanings in the works of Umberto Eco, Semiotics and the Philosophy of language, 1984 and in Raymond Williams Communications 1969 that can be understood in different ways especially through symbols employed to interpret tattoos, piercing (Abbott 1998; features of popular culture according to James lull in communication, culture and Media 2000) and the medium to communicate this through photographs, images and pictures like these ones below not only present the piercings and the tattoos but display their meanings:

PICTOGRAPHY: Ancient Pictures and their Meanings:

A Tamil man in a religious procession with a trident piercing his cheeks. Originally posted to Flickr as piercing. Continent: Asia. A Mursi woman of Ethiopia. Continent: Africa. Flickr,
Contemporary Images of Tattoos and Piercings

(Though my sources and authors of these images are not sophisticated but they are still accessible on the internet. All images were gotten on the 10th of March, 2015 from varying sources online).

The images above should speak loudly of their varying origins and periodic impacts. They symbolic references of how photography impacts on time, space, culture and thoughts man, how it shapes reality and how it gives birth to contemporariness by telling stories. These several body modifications are popular in various cultures and traditions
Now beyond the images or photographs being images or products of possession as David, C. puts it, Fred Ritchin (2009) quotes Marshal McLuhan in his book After photography saying, ‘the moment of the meeting of media is a moment of freedom and release…(McLuhan Understanding Media (1964) in Ritchin 2009: 141) – Fred would write also, that, ‘eventually, digital photography’s relationship to space, to time, to light, to authorship, to other media will make it clear that it represents an essentially different approach than does analogue photography …to a large extent this emerging cluster of strategies will be forever linked with others (social, economic, political, religious etc. values) as a component in the interactive, networked interplay of a larger reality and meta – media’ (Ritchin 2009: 141).

For Steve Meyes, photography filled – in where words failed, it’s a bridge between the knowledge gained and the audience and importantly, the format of traditional photojournalism limits the communication, (Meyes #Phonar 2015). The entirety of Steve Meyes arguments and the dreams of Tim Hetherington essentially emphasis the significance of Post – photography with no regret to technological advancement, in fact, the digital age is suitable to be part of as the wind of change supports the institutionalisation of new ideas, new images, new theories and put the digital potentials and values of photographs to enhance curation and archival prowess that there can be.
This reflection demonstrates how the theory of focusing events emphasises the fact of newness in theory and practice after certain changes or occurrences by which issues (photography) gain greater mass and elite attention (Birkland 1997: 3), purposefully to appreciate or add value to images and circumstantial reality.

According to Heraclitus (500 B.C.E.), ‘all things are in a constant state of flux’ (Graham in IEP), reliant on this fact, photojournalists flowed with renaissance by expanding in both technical and conceptual strategies…today, postproduction transformation of the image is considerably stronger in the digital realm (Ritchin 2013: 47 – 49), where this principles of manipulation as compared to body modification have certain underlined sublime values it communicates to its audience.
Hence this transformation in post – photography is of choice that might represent reality in a partial manner either aesthetically or politically (Campbell 2015: 2 – 3). The subjectivity of the process of interpreting images demonstrates its value. It is in this light that the images used in this reflection tell a story of the culture of tattoos, piercings and many other forms of body modifications as a tale of values (economic, political, sociocultural, belief systems) that are typical contemporary discourses of Globalisation, Post – humanism in terms of cultural changes, postmodernity as regards identity and the soci0 – political enhancement that constitute critical discourse analysis of Norman Fairclough (McLuhan 2001, Fairclough 2010, Haney 11 2005). The eclectic understandings in the images express the values, Meta – photography (Ritchin 2013, Campbell 2015, Meyes 2015).

In conclusion, this reflection thinks that to remain engraved on the despair of digitization of photographs as perceived by Ritchin and others is to celebrate the recessive accentuations of social ideologists like Zygmund Bauman in Liquid Modernity (2000), the biotechnological hypothesis of post – humanists and the socially constructed fate of the technological determinists. Instead, in spite of these present social ideological and pragmatic scholarly representation of both man and the world, it will behove me to say, a persistent objective targeted at preservation, reproduction, curation and a neoliberal representation of images, the transition of photography will be ideological and practical in meaning understood as ‘social progress’. This transition is clearly demonstrated in the critical discourse analysis of Norman Fairclough as he opines that purpose is to revolve around socio-political change – an objective of the public interest (the audience) phenomenon (Fairclough 2010).

Abbott, D. (1998) Culture and Identity UK: Hodder & Stoughton
Bauman, Z. (2000) Liquid Modernity US: Polity Press.
Birkland, T. (1997) After Disaster: Agenda Setting, Public Policy and Focusing Events George University Press: Washington, D. C.
Campbell, D. (2015) Why Does Manipulation Matter? [Online] available from < > [30/03/2015]
Fairclough, N. (2010) Critical Discourse Analysis: A Critical Study of Language 2nd edn London & New York: Routledge.
Graham, D. W. (1995) On Heraclitus – Internet Encyclopaedia of Philosophy [online] available from < > [30/03/2015]
Lull, J. (2000) Media, Communication, Culture: A Global Approach 2nd edn UK: Polity Press.
MCLuhan, M. (2001) Understanding Media: The Extensions of Man London: Routledge.
Meyes, S. (2015) An Interview on Tim Hetherington [online] available from [20/3/2015].
Ritchin, F. (2009) After Photography New York: W.W. Norton & Company, Inc.
Ritchin, F. (2013) Bending the Frame: Photojournalism, Documentary and the Citizens USA: Lesley A. Martin.
Williams, R. (1969) Communications Great Britain: Westerham Press Ltd.
Worth, J. (2015) Lectures on Post – Photography #Phonar Nation

Steve Meyes on Tim Hetherington

With Hetherington, understanding photography is about living and making an impact. through the period I sat listening to Meyes talk about Tim, it felt like he was alive and doing it really. But such impulse was only to make a statement of authenticity.

Write stories that are engaging in every simplicity

The success of photojournalism will only be successful if u manage to get the pictures out. Meyes

Photography in cipher motion pictures an imagination for change through science fictions

Look not from the outside but from within for the unsaid words to be spoken in every way possible.

The diary is a culmination of Tim Hetherington’s career and how the next step would have been taken Meyes

Conflict and brutality blends with domesticity in the photograph of the sleeping soldiers by Tim…what a thought by Meyes

Trans-media commits the audience to active and continuous search for information across all media

The world is not lineal ~Meyes~ but liquid ~Zygmunt Bauman (1925)

The format of traditional photo journalism limits the communication ~ Meyes ~

A story is never complete need to college the dots ~ S. Meyes ~

Each medium has its ways of projecting an item or article

The photographs of sleeping soldiers by Tim posits the contrast of aggression and vulnerability – meanings

Studying the issues of humanity expressed more vividly in conflict…the question of what is existence wit or without conflict

Tim Hetherington known as Conflict Photographer because of his coverage on war and conflict zone

Three things guided Hetherington: Curiosity, Honesty and Imagination

Photographic honesty is in the report and analysis of Ur articles Meyes describes

The bridge between the knowledge to be gained and the audience Tim dreams according to S. Meyes

Tim’s career in Photography was guided by the curiosity to understand and not to necessarily see

In the 90s camera was the tool for communication for photographers.

Photography filled in where words failed S. Meyes describe the drive for photography in Hetherington

What can address the limitations of still photograph in this digital age, even Hetherington wanted answers.

Stephen Meyes on Tim Hetherington

The bridge between the knowledge to be gained and the audience Tim

views by colleagues

“The biggest challange right now is figuring out the hybridisation of media journalism”

Commerce has shaped the forms of news that we’ve become used to’ @StephenMayes

The challenge to the Photography profession is the thousands of armature photographers taking photographs.

cake. Reminds me of my b.a days thanks @Jonathhan_Worth

LizDrakePhotos @LizDrakePhotos

Stephen Mayes describes himself as a “visual entrepreneur”.

Now brewing, a conversation between a virtual entrepreneur with a professor.…and thats the link to the whole discussion with Steve Meyes on Tim H.