How do we see?

How do we ‘pay attention’ visually?

Why do we have two eyes?

What is camera vision?

Here you will discover, and be invited to participate in,  conjecture and experimentation around the idea that ‘camera-vision’ is analogous with the vision of the human eye. Clearly they are different; one is conscious, the other merely a physical phenomenon. Yet there are similarities useful enough for the creation of imagery that is about vision, and about attention.

5 responses to “About

  1. Dear James

    We are hosting a conference on effective visualisation in late November at the Australian National University. This is the second conference on this theme – the first was held at the University of Newcastle two years ago.

    Judy-anne Osborn suggested I contact you to let you know about the
    conference. I would be delighted if you could pass the word about this – we hope to reach a broad community of interested people.

    If you are interested I would happy to supply eye-catching posters!

    Regards Louisa

    EViMS 2 : take a look!

    New Directions in Fractal Geometry conference: a unique opportunity!

    PS I tried to email you at Deakin but it bounced


  2. Hello James: Thought you should note the death of Jack Wilkins on Easter Sunday. He was the last surviving member of the group of experimental photographers whose work was selected for the NGV’s “Frontiers” exhibit in 1973. Here’s something from the National Association of the Visual Arts:

    Known for his photographs and presence in the Warrnambool art community since the 1970s, Warrnambool’s painter, photographer, news cameraman and retired visual arts lecturer John ‘Jack’ Wilkins recently lost his battle to prostate cancer aged 71. Initially studying painting at RMIT a bout of ill health in his third year sent him back to Warrnambool. Thereafter he worked with his professional photographer father Alex Wilkins in the Wilkins Photographic Studio on Leibig Street where his photographic career began.

    In a tribute, Richard Phillips said Wilkins’ death was “a deeply sad occasion” and marked the passing of a “warm and wonderful man and a uniquely inventive artist and teacher. Jack was one of a handful pioneering figures, who in the early 1970s challenged the existing conventions about photographic art in Australia. Photographic galleries were all but non-existent at that time.” His work was included in the National Gallery of Victoria’s Frontiers exhibition in 1973. This abstract photography exhibition which was the first of its kind in Australian history was also exhibited in Japan, the Philippines, Thailand, Singapore and Malaysia.

    Liked by 1 person

    • How small this world of art & photography is, my boss was a good friend of Jack’s, he was a pallbearer at his funeral and often spoke of Jack in the last few years, yet I did not know of either the NGV’s Frontiers exhibition or the group itself? I shall be asking a few questions of my boss when we are back at work together.


  3. Dear James McArdle,
    I today stumbled on your daily blog. What a tremendous achievement it is! Quite remarkable.
    I came to it looking at one of the H Walter Barnett/Falk images of Robert Louis Stevenson – on your blogpost of January 25 with all its Barnett portraits. Did you visit the exhibition I curated on Barnett’s work for the NPG in Canberra in 2000? It ran at the State Library in Sydney, then at Old Parliament House, then at Mornington. Or maybe you have the catalogue?
    This is how I came to Barnett. I was researching and writing a small book, Robert Louis Stevenson and Count Nerli in Samoa: The Story of a Portrait, when it dawned on me that two pastels by Nerli were based on one of a set of portrait photos taken by Barnett in 1893 – the year after Nerli had been painting in Apia with Stevenson. Curious. The pastels must have been painted either in Australia, or, more likely, along with a load of other paintings, all dated Apia 1892, but in reality done from photographs of Samoan scenes and people in one of Barnett’s Knightsbridge properties in London in 1910/11.
    Many of the other images in the exhibition (including the Bernhardt, Melba etc were printed specially from glass negs which turned up in a dealer’s garage in England and were purchased by Terence Pepper for the NPG in London. Perhaps you know Terence?
    Anyway – congratulations!


  4. Hello Mr. McArdle, none of the ways of contacting you I have tried are successful. I am starting a photography project based on the work of Mark Strizic and would love to be able to discuss his work with you and Greg Neville. My phone number is 0479 054 972


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